There were scarcely any events in the life of Thomas Hood. One
condition there was of too potent determining
importance—life-long ill health; and one circumstance of
moment—a commercial failure, and consequent expatriation.
Beyond this, little presents itself for record in the outward
facts of this upright and beneficial career, bright with genius
and coruscating with wit, dark with the lengthening and deepening
shadow of death.
The father of Thomas Hood was engaged in business as a publisher
and bookseller in the Poultry, in the city of London,—a
member of the firm of Vernor, Hood, and Sharpe. He was a
Scotchman, and had come up to the capital early in life, to make
his way. His interest in books was not solely confined to their
saleable quality. He reprinted various old works with success;
published Bloomfield's poems, and dealt handsomely with him; and
was himself the author of two novels, which are stated to have
had some success in their day. For the sake of the son rather
than the father, one would like to see some account, with
adequate specimens, of these long-forgotten tales; for the
queries which Thomas Hood asks concerning the piteous woman of
his Bridge of Sighs interest us all concerning a man of
genius, and interest us moreover with regard to the question of
intellectual as well as natural affinity:—
Another line of work in which the elder Hood is recorded to have
been active was the opening of the English book-trade with
America. He married a sister of the engraver Mr. Sands, and had
by her a large family; two sons and four daughters survived the
period of childhood. The elder brother, James, who died early of
consumption, drew well, as did also one or two of the sisters. It
would seem therefore, when we recall Thomas Hood's aptitudes and
frequent miscellaneous practice in the same line, that a certain
tendency towards fine art, as well as towards literature, ran in
the family. The consumption which killed James appears to have
been inherited from his mother; she, and two of her daughters,
died of the same disease; and a pulmonary affection of a somewhat
different kind became, as we shall see, one of the poet's most
inveterate persecutors. The death of the father, which was sudden
and unexpected, preceded that of the mother, but not of James,
and left the survivors in rather straitened circumstances.
Thomas, the second of the two sons, was born in the Poultry, on
or about the 23d of May, 1799. He is stated to have been a
retired child, with much quiet humor; chuckling, we may guess,
over his own quaint imaginings, which must have come in crowds,
and of all conceivable or inconceivable sorts, to judge from the
products of his after years; keeping most of these fancies and
surprises to himself, but every now and then letting some of them
out, and giving homely or stolid bystanders an inkling of insight
into the many-peopled crannies of his boyish brain. He received
his education at Dr. Wanostrocht's school at Clapham. It is not
very clear how far this education extended:[1] I should infer that it was just about enough, and
not more than enough, to enable Hood to shift for himself in the
career of authorship, without serious disadvantage from
inadequate early training, and also without much aid thence
derived—without, at any rate, any such rousing and refining
of the literary sense as would warrant us in attributing to
educational influences either the inclination to become an
author, or the manipulative power over language and style which
Hood displayed in his serious poems, not to speak of those of a
lighter kind. We seem to see him sliding, as it were, into the
profession of letters, simply through capacity and liking, and
the course of events—not because he had resolutely made up
his mind to be an author, nor because his natural faculty had
been steadily or studiously cultivated. As to details, it may be
remarked that his schooling included some amount—perhaps a
fair average amount—of Latin. We find it stated that he had
a Latin prize at school, but was not apt at the language in later
years. He had however one kind of aptitude at it—being
addicted to the use of familiar Latin quotations or phrases,
cited with humorous verbal perversions.
In all the relations of family life, and the forms of family
affection, Hood was simply exemplary. The deaths of his elder
brother and of his father left him the principal reliance of his
mother, herself destined soon to follow them to the tomb: he was
an excellent and devoted son. His affection for one of his
sisters, Anne, who also died shortly afterwards, is attested in
the beautiful lines named The Deathbed,—
At a later date, the loves of a husband and a father seem to have
absorbed by far the greater part of his nature and his thoughts:
his letters to friends are steeped and drenched In "Jane,"
"Fanny," and "Tom junior." These letters are mostly divided
between perpetual family details and perennial jocularity: a
succession of witticisms, or at lowest of puns and
whimsicalities, mounts up like so many squibs and crackers,
fizzing through, sparkling amid, or ultimately extinguished by,
the inevitable shower—the steady rush and downpour—of
the home-affections. It may easily be inferred from this account
that there are letters which one is inclined to read more
thoroughly, and in greater number consecutively, than Hood's.
The vocation first selected for Hood, towards the age of fifteen,
was one which he did not follow up for long—that of an
engraver. He was apprenticed to his uncle Mr. Sands, and
afterwards to one of the Le Keux family. The occupation was
ill-suited to his constantly ailing health, and this eventually
conduced to his abandoning it. He then went to Scotland to
recruit, remaining there among his relatives about five
years.[2] According to a statement made by
himself, he was in a merchant's office within this interval; it
is uncertain, however, whether this assertion is to be accepted
as genuine, or as made for some purpose of fun. His first
published writing appeared in the Dundee Advertiser in
1814—his age being then, at the utmost, fifteen and a half;
this was succeeded by some contribution to a local magazine. But
as yet he had no idea of authorship as a profession.
Towards the middle of the year 1820, Hood was re-settled in
London, improved in health, and just come of age. At first he
continued practising as an engraver; but in 1821 he began to act
as a sort of sub-editor for the London Magazine after the
death of the editor, Mr. Scott, in a duel. He concocted
fictitious and humorous answers to correspondents—a humble
yet appropriate introduction to the insatiable habit and faculty
for out-of-the-way verbal jocosity which marked-off his after
career from that of all other excellent poets.
His first regular contribution to the magazine, in July, 1821,
was a little poem To Hope: even before this, as early at
any rate as 1815, he was in the frequent practice of writing
correctly and at some length in verse, as witnessed by
selections, now in print, from what he had composed for the
amusement of his relatives. Soon afterwards, a private literary
society was the recipient of other verses of the same order. The
lines To Hope were followed, in the London
Magazine, by the Ode to Dr. Kitchener and some further
poems, including the important work, Lycus the
Centaur—after the publication of which, there could not
be much doubt of the genuine and uncommon powers of the new
writer. The last contribution of Hood to this magazine was the
Lines to a Cold Beauty. Another early work of his, and one
which, like the verses To the Moon, affords marked
evidence of the impression which he had received from Keats's
poetry, is the unfinished drama (or, as he termed it, "romance")
of Lamia: I do not find its precise date recorded. Its
verse is lax, and its tone somewhat immature; yet it shows a
great deal of sparkling and diversified talent. Hood certainly
takes a rather more rational view than Keats did of his subject
as a moral invention, or a myth having some sort of meaning at
its root. A serpent transformed into a woman, who beguiles a
youth of the highest hopes into amorous languid self-abandonment,
is clearly not, in morals, the sort of person that ought to be
left uncontrolled to her own devices. Keats ostentatiously
resents the action of the unimpassioned philosopher Appollonius
in revealing the true nature of the woman-serpent, and dissolving
her spell. An elderly pedant to interfere with the pretty whims
of a viper when she wears the outer semblance of a fine woman!
Intolerable!
(Such is the sentiment of Keats; but such plainly is not
altogether the conviction of Hood, although his story remains but
partially developed.)
By this time it may have become pretty clear to himself and
others that his proper vocation and destined profession was
literature. Through the London Magazine, he got to know
John Hamilton Reynolds (author of the Garden of Florence
and other poems, and a contributor to this serial under the
pseudonym of Edward Herbert), Charles Lamb, Allan Cunningham, De
Quincey, and other writers of reputation. To Hood the most
directly important of all these acquaintances was Mr. Reynolds;
this gentleman having a sister, Jane, to whom Hood was
introduced. An attachment ensued, and shortly terminated in
marriage, the wedding taking place on the 5th of May, 1824. The
father of Miss Reynolds was the head writing-master at Christ
Hospital. She is stated to have had good manners, a cultivated
mind, and literary tastes, though a high educational standard is
not always traceable in her letters. At any rate the marriage was
a happy one; Mrs. Hood being a tender and attentive wife,
unwearied in the cares which her husband's precarious health
demanded, and he being (as I have said) a mirror of marital
constancy and devotion, distinguishable from a lover rather by
his intense delight in all domestic relations and details than by
any cooling-down in his fondness. It would appear that, in the
later years of Hood's life, he was not on entirely good terms
with some members of his wife's family, including his old friend
John Hamilton Reynolds. What may have caused this I do not find
specified: all that we know of the character of Hood justifies us
in thinking that he was little or not at all to blame, for he
appears throughout a man of just, honorable, and loving nature,
and free besides from that sort of self-assertion which invites a
collision. Every one, however, has his blemishes; and we may
perhaps discern in Hood a certain over-readiness to think himself
imposed upon, and the fellow-creatures with whom he had
immediately to do a generation of vipers—a state of feeling
not characteristic of a mind exalted and magnanimous by habit, or
"gentle" in the older and more significant meaning of the term.
The time was now come for Hood to venture a volume upon the
world. Conjointly with Reynolds, he wrote, and published in 1825,
his Odes and Addresses to Great People. The title-page
bore no author's name; but the extraordinary talent and point of
the work could hardly fail to be noticed, even apart from its
appeal to immediate popularity, dealing as it did so continually
with the uppermost topics of the day. It had what it deserved, a
great success. This volume was followed, in 1826, by the first
series of Whims and Oddities, which also met with a good
sale; the second series appeared in 1827. Next came two volumes
of National Tales, somewhat after the manner of Boccaccio
(but how far different from his spirit may easily be surmised),
which are now little known. The volume containing the Plea of
the Midsummer Fairies, Hero and Leander, and some other of
Hood's most finished and noticeable poems, came out in 1827.
The Midsummer Fairies itself was one of the authors own
favorite works, and certainly deserved to be so, as far as dainty
elegance of motive and of execution is concerned: but the
conception was a little too ingeniously remote for the public to
ratify the author's predilection. The Hero and Leander
will be at once recognized as modelled on the style of
Elizabethan narrative poems: indeed Marlow treated the very same
subject, and his poem, left uncompleted, was finished by Chapman.
Hood's is a most astonishing example of revivalist poetry: it is
reproductive and spontaneous at the same time. It resembles its
models closely, not servilely—significantly, not
mechanically; and has the great merit of resembling them with
comparative moderation. Elizabethan here both in spirit and in
letter, Hood is nevertheless a little less extreme than his
prototypes. Where they loaded, he does not find it needful to
overload, which is the ready and almost the inevitable resource
of revivalists, all but the fewest: on the contrary, he
alleviates a little,—but only a little.
In 1829 appeared the most famous of all his poems of a narrative
character—The Dream of Eugene Aram; it was published
in the Gem, an annual which the poet was then editing.
Besides this amount of literary activity, Hood continued writing
in periodicals, sometimes under the signature of "Theodore M."
His excessive and immeasurable addiction to rollicking fun, to
the perpetual "cracking of jokes" (for it amounts to that more
definitely than to anything else in the domain of the Comic
Muse), is a somewhat curious problem, taken in connection with
his remarkable genius and accomplishment as a poet, and his
personal character as a solid housekeeping citizen, bent chiefly
upon rearing his family in respectability, and paying his way,
or, as the Church Catechism has neatly and unimprovably expressed
it, upon "doing his duty in that state of life to which it had
pleased God to call him." His almost constant ill-health, and, in
a minor degree, the troubles which beset him in money-matters,
make the problem all the more noticeable. The influence of
Charles Lamb may have had something to do with it,—probably
not very much. Perhaps there was something in the literary
atmosphere or the national tone of the time which gave comicality
a turn of predominance after the subsiding of the great poetic
wave which filled the last years of the eighteenth and the first
quarter of the nineteenth century in our country, in Blake,
Burns, Wordsworth, Scott, Coleridge, Landor, Byron, Keats, and,
supreme among all, Shelley. Something of the same transition may
be noticed in the art of design; the multifarious illustrator in
the prior generation is Stothard,—in the later, Cruikshank.
At any rate, in literature, Lamb, Hood, and then Dickens in his
earliest works, the Sketches by Boz and Pickwick,
are uncommonly characteristic and leading minds, and bent, with
singular inveteracy, upon being "funny,"—though not funny
and nothing else at all. But we should not force this
consideration too far: Hood is a central figure in the group and
the period, and the tendency of the time may be almost as much
due to him as he to the tendency. Mainly, we have to fall back
upon his own idiosyncrasy: he was born with a boundlessly
whimsical perception, which he trained into an inimitable
sleight-of-hand in the twisting of notions and of words;
circumstances favored his writing for fugitive publications and
skimming readers, rather than under conditions of greater
permanency; and the result is as we find it in his works. His son
expresses the opinion that part of Hood's success in comic
writing arose from his early reading of Humphrey Clinker,
Tristram Shandy, Tom Jones, and other works of that
period, and imbuing himself with their style: a remark, however,
which applies to his prose rather than his poetical works.
Certain it is that the appetite for all kinds of fun, verbal and
other was a part of Hood's nature. We see it in the practical
jokes he was continually playing on his good-humored
wife—such as altering into grotesque absurdity many of the
words contained in her letters to friends: we see it—the
mere animal love of jocularity, as it might be termed—in
such a small point as his frequently addressing his friend Philip
de Franck, in letters, by the words, "Tim, says he," instead of
any human appellative[3] Hood reminds us very
much of one of Shakespeare's Fools (to use the word in no
invidious sense) transported into the nineteenth
century,—the Fool in King Lear, or Touchstone. For
the occasional sallies of coarseness or ribaldry, the spirit of
the time has substituted a bourgeois good-humor which
respects the family circle, and haunts the kitchen-stairs; for
the biting jeer, intended to make some victim uncomfortable, it
gives the sarcastic or sprightly banter, not unconscious of an
effort at moral amelioration; for the sententious sagacity, and
humorous enjoyment of the nature of man, it gives bright thoughts
and a humanitarian sympathy. But, on the whole, the intellectual
personality is nearly the same: seeking by natural affinity, and
enjoying to the uttermost, whatever tends to lightness of heart
and to ridicule—thus dwelling indeed in the region of the
commonplace and the gross, but constantly informing it with some
suggestion of poetry, somewise side-meaning, or some form of
sweetness and grace. These observations relate of course to
Hood's humorous poems: into his grave and pathetic poems he can
import qualities still loftier than these—though even here
it is not often that he utterly forswears quaintness and oddity.
The risible, the fantastic, was his beacon-light; sometimes as
delicate as a dell of glow-worms; sometimes as uproarious as a
bonfire; sometimes, it must be said (for he had to be perpetually
writing whether the inspiration came or not, or his inspiration
was too liable to come from the very platitudes and pettinesses
of everyday life), not much more brilliant than a rush-light, and
hardly more aromatic than the snuff of a tallow candle.
We must now glance again at Hood's domestic affairs. His first
child had no mundane existence worth calling such; but has
nevertheless lived longer than most human beings in the lines
which Lamb wrote for the occasion, On an Infant dying as soon
as born. A daughter followed, and in 1830 was born his son,
the Tom Hood who became editor of the comic journal Fun,
and died in 1874. At the time of his birth, the family was living
at Winchmore Hill: thence they removed about 1832, to the Lake
House, Wanstead, a highly picturesque dwelling, but scanty in
domestic comforts. The first of the Comic Annual series
was brought out at Christmas, 1830. In the following couple of
years, Hood did some theatrical work; writing the libretto for an
English opera which (it is believed) was performed at the Surrey
Theatre. Its name is now unknown, but it had a good run in its
day; a similar fate has befallen an entertainment which he wrote
for Mathews. He also composed a pantomime for the Adelphi; and,
along with Reynolds, dramatized Gil Blas. This play is
understood to have been acted at Drury Lane. The novel of
Tylney Hall, and the poem of the Epping Hunt, were
written at Wanstead.
Born in comfortable mediocrity, and early inured to narrow
fortunes, Hood had no doubt entered upon the literary calling
without expecting or caring to become rich. Hitherto, however, he
seems to have prospered progressively, and to have had no reason
to regret, even in a wordly sense, his choice of a profession.
But towards the end of 1834 a disaster overtook him; and
thenceforth, to the end of his days, he had nothing but tedious
struggling and uphill work. To a man of his buoyant temperament,
and happy in his home, this might have been of no extreme
consequence, if only sound health had blessed him: unfortunately,
the very reverse was the case. Sickly hitherto, he was soon to
become miserably and hopelessly diseased: he worked on through
everything bravely and uncomplainingly, but no doubt with keen
throbs of discomfort, and not without detriment at times to the
quality of his writings. The disaster adverted to was the failure
of a firm with which Hood was connected, entailing severe loss
upon him. With his accustomed probity, he refused to avail
himself of any legal immunities, and resolved to meet his
engagements in full eventually; but it became requisite that he
should withdraw from England. He proposed to settle down in some
one of the towns on the Rhine, and circumstances fixed his choice
on Coblentz. A great storm which overtook him during the passage
to Rotterdam told damagingly on his already feeble health.
Coblentz, which he reached in March, 1835, pleased him at first;
though it was not long before he found himself a good deal of an
Englishman, and his surroundings vexatiously German. After a
while he came to consider a German Jew and a Jew German nearly
convertible terms; and indulged at times in considerable acrimony
of comment, such as a reader of cosmopolitan temper is not
inclined to approve. He had, however, at least one very agreeable
acquaintance at Coblentz—Lieutenant Philip de Franck, an
officer in the Prussian service, of partly English parentage: the
good-fellowship which he kept up with this amiable gentleman,
both in personal intercourse and by letter, was (as we have seen)
even boyishly vivacious and exuberant. In the first instance Hood
lived at No. 372 Castor Hof, where his family joined him in the
Spring of 1835: about a year later, they removed to No. 752 Alten
Graben.
Spasms in the chest now began to be a trying and alarming symptom
of his ill-health, which, towards the end of 1836, took a turn
for the worse; he never afterwards rallied very effectually,
though the fluctuations were numerous—(in November, 1838,
for instance, he fancied that a radical improvement had suddenly
taken place)—and at times the danger was imminent. The
unfavorable change in question was nearly simultaneous with a
visit which he made to Berlin, accompanying Lieutenant de Franck
and his regiment, on their transfer to Bromberg: the rate of
travelling was from fifteen to twenty English miles per diem, for
three days consecutively, and then one day of rest. Hood liked
the simple unextortionate Saxon folk whom he encountered on the
route, and contrasted them with the Coblentzers, much to the
disadvantage of the latter. By the beginning of December he was
back in his Rhineland home; but finally quitted it towards May,
1837. Several attacks of blood-spitting occurred in the interval;
at one time Hood proposed for himself the deadly-lively epitaph,
"Here lies one who spat more blood and made more puns than any
other man."
The poet was back in England from Ostend in April 1840; and,
under medical advice, he determined to prolong his visit into a
permanent re-settlement in his native London. Here therefore he
remained and returned, no more to the Continent. He took a house,
with his family, in Camberwell, not far from the Green; removing
afterwards to St. John's Wood, and finally to another house in
the same district, Devonshire Lodge, Finchley Road. He wrote in
the New Monthly Magazine, then edited by Theodore Hook:
his Rhymes for the Times, the celebrated Miss
Kilmansegg, and other compositions, first appeared here. Hook
dying in August 1841, Hood was invited to succeed him as editor,
and closed with the offer: this gave him an annual salary of
£300, besides the separate payments for any articles that he
wrote. The Song of the Shirt, which it would be futile to
praise or even to characterize, came out, anonymously of course,
in the Christmas number of Punch for 1843: it ran like
wildfire, and rang like a tocsin, through the land. Immediately
afterwards, in January 1844, Hood's connection with the New
Monthly closed, and he started a publication of his own,
Hood's Magazine, which was a considerable success: more
than half the first number was the actual handiwork of the
editor. Many troubles and cross-purposes, however, beset the new
periodical; difficulties with which Hood was ill fitted, by his
now rapidly and fatally worsening health, to cope. They pestered
him when he was most in need of rest; and he was in need of rest
when most he was wanted to control the enterprise. The Haunted
House, and various other excellent poems by Hood, were
published in this magazine.
His last days and final agonies were a little cheered by the
granting of a Government pension of £100, dating from June 1844,
which, with kindly but ominous foresight, was conferred upon Mrs.
Hood, as likely to prove the survivor. This was during the
ministry of Sir Robert Peel, whose courteous communications to
the poet, and expressions of direct personal interest in his
writings, made the boon all the more acceptable. Hood, indeed,
had not been directly concerned in soliciting it. At a somewhat
earlier date, January 1841, the Literary Society had, similarly
unasked, voted him a sum of £50; but this he returned, although
his circumstances were such as might have made it by no means
unwelcome. From Christmas 1844 he was compelled to take to his
bed, and was fated never to leave his room again. The ensuing
Spring, throughout which the poet lay seemingly almost at the
last gasp day by day, was a lovely one. At times he was
delirious; but mostly quite clear in mind, and full of gentleness
and resignation. "Dying, dying," were his last words; and shortly
before, "Lord, say 'Arise, take up thy cross, and follow me.'" On
the 3d of May 1845 he lay dead.
Hood's funeral took place in Kensal Green Cemetery: it was a
quiet one, but many friends attended. His faithful and loving
wife would not be long divided from him. Eighteen months later
she was laid beside him, dying of an illness first contracted
from her constant tendance on his sick-bed. In the closing period
of his life, Hood could hardly bear her being out of his sight,
or even write when she was away. Some years afterwards, a public
subscription was got up, and a monument erected to mark the grave
of the good man and true poet who "sang the Song of the Shirt."
The face of Hood is best known by two busts and an oil-portrait
which have both been engraved from. It is a sort of face to which
apparently a bust does more than justice, yet less than right.
The features, being mostly by no means bad ones, look better,
when thus reduced to the mere simple and abstract contour, than
they probably showed in reality, for no one supposed Hood to be a
fine-looking man; on the other hand, the value of the face
must have been in its shifting expression—keen, playful, or
subtle—and this can be but barely suggested by the
sculptor. The poet's visage was pallid, his figure slight, his
voice feeble; he always dressed in black, and is spoken of as
presenting a generally clerical aspect. He was remarkably
deficient in ear for music—not certainly for the true chime
and varied resources of verse. His aptitude for the art of design
was probably greater than might be inferred from the many comic
woodcut-drawings which he has left. These are irresistibly
ludicrous—(who would not laugh over "The Spoiled
Child"—"What next? as the Frog said when his tail fell
off"—and a host of others?)—and all the more
ludicrous and effective for being drawn more childishly and less
artistically than was within Hood's compass. One may occasionally
see some water-color landscape-bit or the like from his hands
pleasantly done; and during his final residence in England he
acted upon an idea he had long entertained, and produced some
little in the way of oil-painting. He was also ingenious in any
sort of light fancy-work—such, for instance, as carving the
scenery for a child's theatre which formed the delight of his
little son and daughter. His religious faith was, according to
the writers of the Memorials, deep and sincere, though his
opposition to sectarian narrowness and spite of all sorts was
vigorous, and caused him sometimes to be regarded as
anti-religious. A letter of his to a tract-giving and piously
censorious lady who had troubled him (published in the same book)
is absolutely fierce, and indeed hardly to be reconciled with the
courtesy due to a woman, as a mere question of sex. It would be
convenient, I may observe, to know more plainly what the
biographers mean by such expressions as "religious faith,"
"Christian gentleman," and the like. They are not explained, for
instance, by adding that Hood honored the Bible too much to make
it a task-book for his children. "Religious faith" covers many
very serious differences of sentiment and conviction, between
natural theology and historical Christianity; and, on hearing
that a man possessed religious faith, one would like to learn
which of the two extremes this faith was more nearly conversant
with. In respect of political or social opinion, Hood appears to
have been rather humane and philanthropic than democratic, or
"liberal" in the distinct technical sense. His favorite theory of
government, as he said in a letter to Peel, was "an angel from
heaven, and a despotism." He loved neither whigs nor tories, but
was on the side of a national policy: war was his abhorrence, and
so were the wicked corn-laws—an oligarchical device which
survived him, but not for long. His private generosity, not the
less true or hearty for the limits which a precarious and very
moderate income necessarily imposed on it, was in accordance with
the general sentiments of kindness which he was wont to express
both in public and private: if he preached, he did not forget to
practise.
FROM AN UNROLLED MANUSCRIPT OF APOLLONIUS CURIUS.
THE ARGUMENT.
Lycus, detained by Circe in her magical dominion, is
beloved by a Water Nymph, who, desiring to render him
immortal, has recourse to the Sorceress. Circe gives her an
incantation to pronounce, which should turn Lycus into a
horse; but the horrible effect of the charm causing her to
break off in the midst, he becomes a Centaur.
Who hath ever been lured and bound by a spell
To wander, fore-doomed, in that circle of hell
Where Witchery works with her will like a god,
Works more than the wonders of time at a nod,—
At a word,—at a touch,—at a flash of the eye,
But each form is a cheat, and each sound is a lie,
Things born of a wish—to endure for a thought,
Or last for long ages—to vanish to nought,
Or put on new semblance? O Jove, I had given
The throne of a kingdom to know if that heaven,
And the earth and its streams were of Circe, or whether
They kept the world's birthday and brighten'd together!
For I loved them in terror, and constantly dreaded
That the earth where I trod, and the cave where I bedded,
The face I might dote on, should live out the lease
Of the charm that created, and suddenly cease:
And I gave me to slumber, as if from one dream
To another—each horrid,—and drank of the stream
Like a first taste of blood, lest as water I quaff'd
Swift poison, and never should breathe from the
draught,—
Such drink as her own monarch husband drain'd up
When he pledged her, and Fate closed his eyes in the cup.
And I pluck'd of the fruit with held breath, and a fear
That the branch would start back and scream out in my ear;
For once, at my suppering, I plucked in the dusk
An apple, juice-gushing and fragrant of musk;
But by daylight my fingers were crimson'd with gore,
And the half-eaten fragment was flesh at the core;
And once—only once—for the love of its blush,
I broke a bloom bough, but there came such a gush
On my hand, that it fainted away in weak fright,
While the leaf-hidden woodpecker shriek'd at the sight;
And oh! such an agony thrill'd in that note,
That my soul, startling up, beat its wings in my throat,
As it long'd to be free of a body whose hand
Was doom'd to work torments a Fury had plann'd!
There I stood without stir, yet how willing to flee,
As if rooted and horror-turn'd into a tree,—
Oh! for innocent death,—and to suddenly win it,
I drank of the stream, but no poison was in it;
I plunged in its waters, but ere I could sink,
Some invisible fate pull'd me back to the brink;
I sprang from the rock, from its pinnacle height,
But fell on the grass with a grasshopper's flight;
I ran at my fears—they were fears and no more,
For the bear would not mangle my limbs, nor the boar,
But moan'd—all their brutalized flesh could not smother
The horrible truth,—we were kin to each other!
They were mournfully gentle, and group'd for relief,
All foes in their skin, but all friends in their grief:
The leopard was there,—baby-mild in its feature;
And the tiger, black-barr'd, with the gaze of a creature
That knew gentle pity; the bristle-back'd boar,
His innocent tusks stain'd with mulberry gore;
And the laughing hyena—but laughing no more;
And the snake, not with magical orbs to devise
Strange death, but with woman's attraction of eyes;
The tall ugly ape, that still bore a dim shine
Through his hairy eclipse of a manhood divine;
And the elephant stately, with more than its reason,
How thoughtful in sadness! but this is no season
To reckon them up from the lag-bellied toad
To the mammoth, whose sobs shook his ponderous load.
There were woes of all shapes, wretched forms, when I came,
That hung down their heads with a human-like shame;
The elephant hid in the boughs, and the bear
Shed over his eyes the dark veil of his hair;
And the womanly soul turning sick with disgust,
Tried to vomit herself from her serpentine crust;
While all groan'd their groans into one at their lot,
As I brought them the image of what they were not.
Then rose a wild sound of the human voice choking
Through vile brutal organs—low tremulous croaking:
Cries swallow'd abruptly—deep animal tones
Attuned to strange passion, and full-utter'd groans;
All shuddering weaken, till hush'd in a pause
Of tongues in mute motion and wide-yawning jaws;
And I guessed that those horrors were meant to tell o'er
The tale of their woes; but the silence told more,
That writhed on their tongues; and I knelt on the sod,
And pray'd with my voice to the cloud-stirring god,
For the sad congregation of supplicants there,
That upturn'd to his heaven brute faces of prayer;
And I ceased, and they utter'd a moaning so deep,
That I wept for my heart-ease,—but they could not weep,
And gazed with red eyeballs, all wistfully dry,
At the comfort of tears in a stag's human eye.
Then I motion'd them round, and, to soothe their distress,
I caress'd, and they bent them to meet my caress,
Their necks to my arm, and their heads to my palm,
And with poor grateful eyes suffer'd meekly and calm
Those tokens of kindness, withheld by hard fate
From returns that might chill the warm pity to hate;
So they passively bow'd—save the serpent, that leapt
To my breast like a sister, and pressingly crept
In embrace of my neck, and with close kisses blister'd
My lips in rash love,—then drew backward, and glister'd
Her eyes in my face, and loud hissing affright,
Dropt down, but swift started away from my sight!
This sorrow was theirs, but thrice wretched my lot,
Turn'd brute in my soul, though my body was not,
When I fled from the sorrow of womanly faces,
That shrouded their woe in the shade of lone places,
And dash'd off bright tears, till their fingers were wet,
And then wiped their lids with long tresses of jet:
But I fled—though they stretch'd out their hands, all
entangled
With hair, and blood-stain'd of the breasts they had
mangled,—
Though they call'd—and perchance but to ask, had I seen
Their loves, or to tell the vile wrongs that had been:
But I stayed not to hear, lest the story should hold
Some hell-form of words, some enchantment, once told,
Might translate me in flesh to a brute; and I dreaded
To gaze on their charms, lest my faith should be wedded
With some pity,—and love in that pity perchance—
To a thing not all lovely; for once at glance,
Methought, where one sat, I descried a bright wonder
That flow'd like a long silver rivulet under
The long fenny grass,—with so lovely a breast,
Could it be a snake-tail made the charm of the rest?
So I roamed in that circle of horrors, and Fear
Walk'd with me, by hills, and in valleys, and near
Cluster'd trees for their gloom—not to shelter from
heat—
But lest a brute-shadow should grow at my feet;
And besides that full oft in the sunshiny place
Dark shadows would gather like clouds on its face,
In the horrible likeness of demons (that none
Could see, like invisible flames in the sun);
But grew to one monster that seized on the light,
Like the dragon that strangles the moon in the night;
Fierce sphinxes, long serpents, and asps of the south;
Wild birds of huge beak, and all horrors that drouth
Engenders of slime in the land of the pest,
Vile shapes without shape, and foul bats of the West,
Bringing Night on their wings; and the bodies wherein
Great Brahma imprisons the spirits of sin,
Many-handed, that blent in one phantom of fight
Like a Titan, and threatfully warr'd with the light;
I have heard the wild shriek that gave signal to close,
When they rushed on that shadowy Python of foes,
That met with sharp beaks and wide gaping of jaws,
With flappings of wings, and fierce grasping of claws,
And whirls of long tails:—I have seen the quick flutter
Of fragments dissevered,—and necks stretch'd to utter
Long screamings of pain,—the swift motion of blows,
And wrestling of arms—to the flight at the close,
When the dust of the earth startled upward in rings,
And flew on the whirlwind that follow'd their wings.
Thus they fled—not forgotten—but often to grow
Like fears in my eyes, when I walk'd to and fro
In the shadows, and felt from some beings unseen
The warm touch of kisses, but clean or unclean
I knew not, nor whether the love I had won
Was of heaven or hell—till one day in the sun,
In its very noon-blaze, I could fancy a thing
Of beauty, but faint as the cloud-mirrors fling
On the gaze of the shepherd that watches the sky,
Half-seen and half-dream'd in the soul of his eye.
And when in my musings I gazed on the stream,
In motionless trances of thought, there would seem
A face like that face, looking upward through mine:
With his eyes full of love, and the dim-drownd shine
Of limbs and fair garments, like clouds in that blue
Serene:—there I stood for long hours but to view
Those fond earnest eyes that were ever uplifted
Towards me, and wink'd as the water-weed drifted
Between; but the fish knew that presence, and plied
Their long curvy tails, and swift darted aside.
There I gazed for lost time, and forgot all the things
That once had been wonders—the fishes with wings,
And the glimmer of magnified eyes that look'd up
From the glooms of the bottom like pearls in a cup,
And the huge endless serpent of silvery gleam,
Slow winding along like a tide in the stream.
Some maid of the waters, some Naiad, methought
Held me dear in the pearl of her eye—and I brought
My wish to that fancy; and often I dash'd
My limbs in the water, and suddenly splash'd
The cool drops around me, yet clung to the brink,
Chill'd by watery fears, how that beauty might sink
With my life in her arms to her garden, and bind me
With its long tangled grasses, or cruelly wind me
In some eddy to hum out my life in her ear,
Like a spider-caught bee,—and in aid of that fear
Came the tardy remembrance—Oh falsest of men!
Why was not that beauty remember'd till then?
My love, my safe love, whose glad life would have run
Into mine—like a drop—that our fate might be one,
That now, even now,—may-be,—clasp'd in a dream,
That form which I gave to some jilt of the stream,
And gazed with fond eyes that her tears tried to smother
On a mock of those eyes that I gave to another!
Then I rose from the stream, but the eyes of my mind,
Still full of the tempter, kept gazing behind
On her crystalline face, while I painfully leapt
To the bank, and shook off the curst waters, and wept
With my brow in the reeds; and the reeds to my ear
Bow'd, bent by no wind, and in whispers of fear,
Growing small with large secrets, foretold me of one
That loved me,—but oh to fly from her, and shun
Her love like a pest—though her love was as true
To mine as her stream to the heavenly blue;
For why should I love her with love that would bring
All misfortune, like hate, on so joyous a thing?
Because of her rival,—even Her whose witch-face
I had slighted, and therefore was doom'd in that place
To roam, and had roam'd, where all horrors grew rank,
Nine days ere I wept with my brow on that bank;
Her name be not named, but her spite would not fail
To our love like a blight; and they told me the tale
Of Scylla,—and Picus, imprison'd to speak
His shrill-screaming woe through a woodpecker's beak.
Then they ceased—I had heard as the voice of my star
That told me the truth of my fortunes—thus far
I had read of my sorrow, and lay in the hush
Of deep meditation,—when lo! a light crush
Of the reeds, and I turn'd and look'd round in the night
Of new sunshine, and saw, as I sipp'd of the light
Narrow-winking, the realized nymph of the stream,
Rising up from the wave with the bend and the gleam
Of a fountain, and o'er her white arms she kept throwing
Bright torrents of hair, that went flowing and flowing
In falls to her feet, and the blue waters roll'd
Down her limbs like a garment, in many a fold,
Sun-spangled, gold-broider'd, and fled far behind,
Like an infinite train. So she came and reclined
In the reeds, and I hunger'd to see her unseal
The buds of her eyes that would ope and reveal
The blue that was in them;—they oped and she raised
Two orbs of pure crystal, and timidly gazed
With her eyes on my eyes; but their color and shine
Was of that which they look'd on, and mostly of mine—
For she loved me,—except when she blush'd, and they
sank,
Shame-humbled, to number the stones on the bank,
Or her play-idle fingers, while lisping she told me
How she put on her veil, and in love to behold me
Would wing through the sun till she fainted away
Like a mist, and then flew to her waters and lay
In love-patience long hours, and sore dazzled her eyes
In watching for mine 'gainst the midsummer skies.
But now they were heal'd,—O my heart, it still dances
When I think of the charm of her changeable glances,
And my image how small when it sank in the deep
Of her eyes where her soul was,—Alas! now they weep,
And none knoweth where. In what stream do her eyes
Shed invisible tears? Who beholds where her sighs
Flow in eddies, or sees the ascent of the leaf
She has pluck'd with her tresses? Who listens her grief
Like a far fall of waters, or hears where her feet
Grow emphatic among the loose pebbles, and beat
Them together? Ah! surely her flowers float adown
To the sea unaccepted, and little ones drown
For need of her mercy,—even he whose twin-brother
Will miss him forever; and the sorrowful mother
Imploreth in vain for his body to kiss
And cling to, all dripping and cold as it is,
Because that soft pity is lost in hard pain
We loved,—how we loved!—for I thought not again
Of the woes that were whisper'd like fears in that place
If I gave me to beauty. Her face was the face,
Far away, and her eyes were the eyes that were drown'd
For my absence,—her arms were the arms that sought
round
And claspt me to nought; for I gazed and became
Only true to my falsehood, and had but one name
For two loves, and call'd ever on Ægle, sweet maid
Of the sky-loving waters,—and was not afraid
Of the sight of her skin;—for it never could be;
Her beauty and love were misfortunes to me!
Thus our bliss had endured for a time-shorten'd space,
Like a day made of three, and the smile of her face
Had been with me for joy,—when she told me indeed
Her love was self-task'd with a work that would need
Some short hours, for in truth 'twas the veriest pity
Our love should not last, and then sang me a ditty,
Of one with warm lips that should love her, and love her
When suns were burnt dim and long ages past over.
So she fled with her voice, and I patiently nested
My limbs in the reeds, in still quiet, and rested
Till my thoughts grew extinct, and I sank in a sleep
Of dreams,—but their meaning was hidden too deep
To be read what their woe was;—but still it was woe
That was writ on all faces that swam to and fro
In that river of night;—and the gaze of their eyes
Was sad,—and the bend of their brows,—and their
cries
Were seen, but I heard not. The warm touch of tears
Travell'd down my cold cheeks, and I shook till my fears
Awaked me, and lo! I was couch'd in a bower,
The growth of long summers rear'd up in an hour!
Then I said, in the fear of my dream, I will fly
From this magic, but could not, because that my eye
Grew love-idle among the rich blooms; and the earth
Held me down with its coolness of touch, and the mirth
Of some bird was above me,—who, even in fear,
Would startle the thrush? and methought there drew near
A form as of Ægle,—but it was not the face
Hope made, and I knew the witch-Queen of that place,
Even Circe the Cruel, that came like a Death,
Which I fear'd, and yet fled not, for want of my breath.
There was thought in her face, and her eyes were not raised
From the grass at her foot, but I saw, as I gazed,
Her spite—and her countenance changed with her mind
As she plann'd how to thrall me with beauty, and bind
My soul to her charms,—and her long tresses play'd
From shade into shine and from shine into shade,
Like a day in mid-autumn,—first fair, O how fair!
With long snaky locks of the adder-black hair
That clung round her neck,—those dark locks that I
prize,
For the sake of a maid that once loved me with eyes
Of that fathomless hue,—but they changed as they
roll'd,
And brighten'd, and suddenly blazed into gold
That she comb'd into flames, and the locks that fell down
Turn'd dark as they fell, but I slighted their brown,
Nor loved, till I saw the light ringlets shed wild,
That innocence wears when she is but a child;
And her eyes,—Oh I ne'er had been witched with their
shine,
Had they been any other, my Ægle, than thine!
Then I gave me to magic, and gazed till I madden'd
In the full of their light,—but I sadden'd and sadden'd
The deeper I look'd,—till I sank on the snow
Of her bosom, a thing made of terror and woe,
And answer'd its throb with the shudder of fears,
And hid my cold eyes from her eyes with my tears,
And strain'd her white arms with the still languid weight
Of a fainting distress. There she sat like the Fate
That is nurse unto Death, and bent over in shame
To hide me from her the true Ægle—that came
With the words on her lips the false witch had fore-given
To make me immortal—for now I was even
At the portals of Death, who but waited the hush
Of world-sounds in my ears to cry welcome, and rush
With my soul to the banks of his black-flowing river.
Oh, would it had flown from my body forever,
Ere I listen'd those words, when I felt with a start,
The life-blood rush back in one throb to my heart,
And saw the pale lips where the rest of that spell
Had perished in horror—and heard the farewell
Of that voice that was drown'd in the dash of the stream!
How fain had I follow'd, and plunged with that scream
Into death, but my being indignantly lagg'd
Through the brutalized flesh that I painfully dragg'd
Behind me:—O Circe! O mother of spite!
Speak the last of that curse! and imprison me quite
In the husk of a brute,—that no pity may name
The man that I was,—that no kindred may claim—
"The monster I am! Let me utterly be
Brute-buried, and Nature's dishonor with me
Uninscribed!"—But she listen'd my prayer, that was
praise
To her malice, with smiles, and advised me to gaze
On the river for love,—and perchance she would make
In pity a maid without eyes for my sake,
And she left me like Scorn. Then I ask'd of the wave,
What monster I was, and it trembled and gave
The true shape of my grief, and I turn'd with my face
From all waters forever, and fled through that place,
Till with horror more strong than all magic I pass'd
Its bounds, and the world was before me at last.
There I wander'd in sorrow, and shunned the abodes
Of men, that stood up in the likeness of Gods,
But I saw from afar the warm shine of the sun
On the cities, where man was a million, not one;
And I saw the white smoke of their altars ascending,
That show'd where the hearts of many were blending,
And the wind in my face brought shrill voices that came
From the trumpets that gather'd whole bands in one fame
As a chorus of man,—and they stream'd from the gates
Like a dusky libation poured out to the Fates.
But at times there were gentler processions of peace
That I watch'd with my soul in my eyes till their cease,
There were women! there men! but to me a third sex
I saw them all dots—yet I loved them as specks:
And oft to assuage a sad yearning of eyes
I stole near the city, but stole covert-wise
Like a wild beast of love, and perchance to be smitten
By some hand that I rather had wept on than bitten!
Oh, I once had a haunt near a cot where a mother
Daily sat in the shade with her child, and would smother
Its eyelids in kisses, and then in its sleep
Sang dreams in its ear of its manhood, while deep
In a thicket of willows I gazed o'er the brooks
That murmur'd between us and kiss'd them with looks;
But the willows unbosom'd their secret, and never
I return'd to a spot I had startled forever,
Though I oft long'd to know, but could ask it of none,
Was the mother still fair, and how big was her son?
For the haunters of fields they all shunn'd me by flight;
The men in their horror, the women in fright;
None ever remain'd save a child once that sported
Among the wild bluebells, and playfully courted
The breeze; and beside him a speckled snake lay
Tight strangled, because it had hiss'd him away
From the flower at his finger; he rose and drew near
Like a Son of Immortals, one born to no fear,
But with strength of black locks and with eyes azure bright
To grow to large manhood of merciful might.
He came, with his face of bold wonder, to feel,
The hair of my side, and to lift up my heel,
And question'd my face with wide eyes; but when under
My lids he saw tears,—for I wept at his wonder,
He stroked me, and utter'd such kindliness then,
That the once love of women, the friendship of men
In past sorrow, no kindness e'er came like a kiss
On my heart in its desolate day such as this!
And I yearn'd at his cheeks in my love, and down bent,
And lifted him up in my arms with intent
To kiss him,—but he cruel-kindly, alas!
Held out to my lips a pluck'd handful of grass!
Then I dropt him in horror, but felt as I fled
The stone he indignantly hurl'd at my head,
That dissever'd my ear,—but I felt not, whose fate
Was to meet more distress in his love that his hate!
Thus I wander'd, companion'd of grief and forlorn
Till I wish'd for that land where my being was born
But what was that land with its love, where my home
Was self-shut against me; for why should I come
Like an after-distress to my gray-bearded father,
With a blight to the last of his sight?—let him rather
Lament for me dead, and shed tears in the urn
Where I was not, and still in fond memory turn
To his son even such as he left him. Oh, how
Could I walk with the youth once my fellows, but now
Like Gods to my humbled estate?—or how bear
The steeds once the pride of my eyes and the care
Of my hands? Then I turn'd me self-banish'd, and came
Into Thessaly here, where I met with the same
As myself. I have heard how they met by a stream
In games, and were suddenly changed by a scream
That made wretches of many, as she roll'd her wild eyes
Against heaven, and so vanish'd.—The gentle and wise
Lose their thoughts in deep studies, and others their ill
In the mirth of mankind where they mingle them still.
Alas! That breathing Vanity should go
Where Pride is buried,—like its very ghost,
Uprisen from the naked bones below,
In novel flesh, clad in the silent boast
Of gaudy silk that flutters to and fro,
Shedding its chilling superstition most
On young and ignorant natures—as it wont
To haunt the peaceful churchyard of Bedfont!
Each Sabbath morning, at the hour of prayer,
Behold two maidens, up the quiet green
Shining, far distant, in the summer air
That flaunts their dewy robes and breathes between
Their downy plumes,—sailing as if they were
Two far-off ships,—until they brush between
The churchyard's humble walls, and watch and wait
On either side of the wide open'd gate,
And there they stand—with haughty necks before
God's holy house, that points towards the skies—
Frowning reluctant duty from the poor,
And tempting homage from unthoughtful eyes:
And Youth looks lingering from the temple door,
Breathing its wishes in unfruitful sighs,
With pouting lips,—forgetful of the grace,
Of health, and smiles, on the heart-conscious face;—
Because that Wealth, which has no bliss beside,
May wear the happiness of rich attire;
And those two sisters, in their silly pride,
May change the soul's warm glances for the fire
Of lifeless diamonds;—and for health denied,—
With art, that blushes at itself, inspire
Their languid cheeks—and flourish in a glory
That has no life in life, nor after-story.
The aged priest goes shaking his gray hair
In meekest censuring, and turns his eye
Earthward in grief, and heavenward in pray'r,
And sighs, and clasps his hands, and passes by,
Good-hearted man! what sullen soul would wear
Thy sorrow for a garb, and constantly
Put on thy censure, that might win the praise
Of one so gray in goodness and in days?
Also the solemn clerk partakes the shame
Of this ungodly shine of human pride,
And sadly blends his reverence and blame
In one grave bow, and passes with a stride
Impatient:—many a red-hooded dame
Turns her pain'd head, but not her glance, aside
From wanton dress, and marvels o'er again,
That heaven hath no wet judgments for the vain.
"I have a lily in the bloom at home,"
Quoth one, "and by the blessed Sabbath day
I'll pluck my lily in its pride, and come
And read a lesson upon vain array;—
And when stiff silks are rustling up, and some
Give place, I'll shake it in proud eyes and say—
Making my reverence,—'Ladies, an you please,
King Solomon's not half so fine as these,'"
Then her meek partner, who has nearly run
His earthly course,—"Nay, Goody, let your text
Grow in the garden.—We have only one—
Who knows that these dim eyes may see the next?
Summer will come again, and summer sun,
And lilies too,—but I were sorely vext
To mar my garden, and cut short the blow
Of the last lily I may live to grow,"
"The last!" quoth she, "and though the last it were—
Lo! those two wantons, where they stand so proud
With waving plumes, and jewels in their hair,
And painted cheeks, like Dagons to be bow'd
And curtsey'd to!—last Sabbath after pray'r,
I heard the little Tomkins ask aloud
If they were angels—but I made him know
God's bright ones better, with a bitter blow!"
So speaking, they pursue the pebbly walk
That leads to the white porch the Sunday throng,
Hand-coupled urchins in restrainëd talk,
And anxious pedagogue that chastens wrong,
And posied churchwarden with solemn stalk,
And gold-bedizen'd beadle flames along,
And gentle peasant clad in buff and green,
Like a meek cowslip in the spring serene;
And blushing maiden—modestly array'd
In spotless white,—still conscious of the glass;
And she, the lonely widow, that hath made
A sable covenant with grief,—alas!
She veils her tears under the deep, deep shade,
While the poor kindly-hearted, as they pass,
Bend to unclouded childhood, and caress
Her boy,—so rosy!—and so fatherless!
And she, the lonely widow,
And she, the lonely widow,
Thus, as good Christians ought, they all draw near
The fair white temple, to the timely call
Of pleasant bells that tremble in the ear.—
Now the last frock, and scarlet hood, and shawl
Fade into dusk, in the dim atmosphere
Of the low porch, and heav'n has won them all,
—Saying those two, that turn aside and pass,
In velvet blossom, where all flesh is grass.
And she, the lonely widow,
And she, the lonely widow,
Ah me! to see their silken manors trail'd
In purple luxuries—with restless gold,—
Flaunting the grass where widowhood has wail'd
In blotted black,—over the heapy mould
Panting wave-wantonly! They never quail'd
How the warm vanity abused the cold;
Nor saw the solemn faces of the gone
Sadly uplooking through transparent stone:
And she, the lonely widow,
And she, the lonely widow,
But swept their dwellings with unquiet light,
Shocking the awful presence of the dead;
Where gracious natures would their eyes benight,
Nor wear their being with a lip too red,
Nor move too rudely in the summer bright
Of sun, but put staid sorrow in their tread,
Meting it into steps, with inward breath,
In very pity to bereaved death.
And she, the lonely widow,
And she, the lonely widow,
Now in the church, time-sober'd minds resign
To solemn pray'r, and the loud chaunted hymn,—
With glowing picturings of joys divine
Painting the mist-light where the roof is dim;
But youth looks upward to the window shine,
Warming with rose and purple and the swim
Of gold, as if thought-tinted by the stains
Of gorgeous light through many-color'd panes;
And she, the lonely widow,
And she, the lonely widow,
Soiling the virgin snow wherein God hath
Enrobed his angels,—and with absent eyes
Hearing of Heav'n, and its directed path,
Thoughtful of slippers—and the glorious skies
Clouding with satin,—till the preacher's wrath
Consumes his pity, and he glows and cries
With a deep voice that trembles in its might,
And earnest eyes grow eloquent in light:
And she, the lonely widow,
And she, the lonely widow,
"Oh, that the vacant eye would learn to look
On very beauty, and the heart embrace
True loveliness, and from this holy book
Drink the warm-breathing tenderness and grace
Of love indeed! Oh, that the young soul took
Its virgin passion from the glorious face
Of fair religion, and address'd its strife,
To win the riches of eternal life!"
And she, the lonely widow,
And she, the lonely widow,
"Doth the vain heart love glory that is none,
And the poor excellence of vain attire?
Oh go, and drown your eyes against the sun,
The visible ruler of the starry quire,
Till boiling gold in giddy eddies run,
Dazzling the brain with orbs of living fire;
And the faint soul down-darkens into night,
And dies a burning martyrdom to light."
And she, the lonely widow,
And she, the lonely widow,
Oh go, and gaze,—when the low winds of ev'n
Breathe hymns, and Nature's many forests nod
Their gold-crown'd heads; and the rich blooms of heav'n
Sun-ripen'd give their blushes up to God;
And mountain-rocks and cloudy steeps are riv'n
By founts of fire, as smitten by the rod
Of heavenly Moses,—that your thirsty sense
May quench its longings of magnificence!
And she, the lonely widow,
And she, the lonely widow,
"Yet suns shall perish—stars shall fade away—
Day into darkness—darkness into death—
Death into silence; the warm light of day,
The blooms of summer, the rich glowing breath
Of even—all shall wither and decay,
Like the frail furniture of dreams beneath
The touch of morn—or bubbles of rich dyes
That break and vanish in the aching eyes."
And she, the lonely widow,
And she, the lonely widow,
They hear, soul-blushing, and repentant shed
Unwholesome thoughts in wholesome tears, and pour
Their sin to earth,—and with low drooping head
Receive the solemn blessing, and implore
Its grace—then soberly with chasten'd tread,
They meekly press towards the gusty door
With humbled eyes that go to graze upon
The lowly grass—like him of Babylon.
And she, the lonely widow,
And she, the lonely widow,
The lowly grass!—O water-constant mind!
Fast-ebbing holiness!—soon-fading grace
Of serious thought, as if the gushing wind
Through the low porch had wash'd it from the face
For ever!—How they lift their eyes to find
Old vanities!—Pride wins the very place
Of meekness, like a bird, and flutters now
With idle wings on the curl-conscious brow!
And she, the lonely widow,
And she, the lonely widow,
And lo! with eager looks they seek the way
Of old temptation at the lowly gate;
To feast on feathers, and on vain array,
And painted cheeks, and the rich glistering state
Of jewel-sprinkled locks,—But where are they,
The graceless haughty ones that used to wait
With lofty neck, and nods, and stiffen'd eye?—
None challenge the old homage bending by.
To feast on feathers, and on vain array
To feast on feathers, and on vain array
In vain they look for the ungracious bloom
Of rich apparel where it glow'd before,—
For Vanity has faded all to gloom,
And lofty Pride has stiffen'd to the core,
For impious Life to tremble at its doom,—
Set for a warning token evermore,
Whereon, as now, the giddy and the wise
Shall gaze with lifted hands and wond'ring eyes.
To feast on feathers, and on vain array
To feast on feathers, and on vain array
The aged priest goes on each Sabbath morn,
But shakes not sorrow under his gray hair;
The solemn clerk goes lavender'd and shorn
Nor stoops his back to the ungodly pair;—
And ancient lips that pucker'd up in scorn,
Go smoothly breathing to the house of pray'r;
And in the garden-plot, from day to day,
The lily blooms its long white life away.
To feast on feathers, and on vain array
To feast on feathers, and on vain array
And where two haughty maidens used to be,
In pride of plume, where plumy Death had trod,
Trailing their gorgeous velvets wantonly,
Most unmeet pall, over the holy sod;
There, gentle stranger, thou may'st only see
Two sombre Peacocks.
Age, with sapient nod
Marking the spot, still tarries to declare
How they once lived, and wherefore they are there.
Immortal Imogen, crown'd queen above
The lilies of thy sex, vouchsafe to hear
A fairy dream in honor of true love—
True above ills, and frailty, and all fear,—
Perchance a shadow of his own career
Whose youth was darkly prison'd and long-twined
By serpent-sorrow, till white Love drew near,
And sweetly sang him free, and round his mind
A bright horizon threw, wherein no grief may wind.
I saw a tower builded on a lake,
Mock'd by its inverse shadow, dark and deep—
That seem'd a still intenser night to make,
Wherein the quiet waters sank to sleep,—
And, whatso'er was prison'd in that keep,
A monstrous Snake was warden:—round and round
In sable ringlets I beheld him creep
Blackest amid black shadows to the ground,
Whilst his enormous head, the topmost turret crown'd.
From whence he shot fierce light against the stars,
Making the pale moon paler with affright;
And with his ruby eye out-threaten'd Mars—
That blaz'd in the mid-heavens, hot and bright—
Nor slept, nor wink'd, but with a steadfast spite
Watch'd their wan looks and tremblings in the skies;
And that he might not slumber in the night,
The curtain-lids were pluck'd from his large eyes,
So he might never drowse, but watch his secret prize.
Prince or princess in dismal durance pent,
Victims of old Enchantment's love or hate,
Their lives must all in painful sighs be spent,
Watching the lonely waters soon and late,
And clouds that pass and leave them to their fate,
Or company their grief with heavy tears:—
Meanwhile that Hope can spy no golden gate
For sweet escapement, but in darksome fears
They weep and pine away as if immortal years.
No gentle bird with gold upon its wing
Will perch upon the grate—the gentle bird
Is safe in leafy dell, and will not bring
Freedom's sweet key-note and commission-word
Learn'd of a fairy's lips, for pity stirr'd—
Lest while he trembling sings, untimely guest!
Watch'd by that cruel Snake and darkly heard,
He leave a widow on her lonely nest,
To press in silent grief the darlings of her breast.
No gallant knight, adventurous, in his bark,
Will seek the fruitful perils of the place,
To rouse with dipping oar the waters dark
That bear that serpent image on their face.
And Love, brave Love! though he attempt the base,
Nerved to his loyal death, he may not win
His captive lady from the strict embrace
Of that foul Serpent, clasping her within
His sable folds—like Eve enthrall'd by the old Sin.
But there is none—no knight in panoply,
Nor Love, intrench'd in his strong steely coat:
No little speck—no sail—no helper nigh,
No sign—no whispering—no plash of boat:—
The distant shores show dimly and remote,
Made of a deeper mist,—serene and gray,—
And slow and mute the cloudy shadows float
Over the gloomy wave, and pass away,
Chased by the silver beams that on their marges play.
And bright and silvery the willows sleep
Over the shady verge—no mad winds tease
Their hoary heads; but quietly they weep
Their sprinkling leaves—half fountains and half trees:
Their lilies be—and fairer than all these,
A solitary Swan her breast of snow
Launches against the wave that seems to freeze
Into a chaste reflection, still below
Twin shadow of herself wherever she may go.
And forth she paddles in the very noon
Of solemn midnight like an elfin thing,
Charm'd into being by the argent moon—
Whose silver light for love of her fair wing
Goes with her in the shade, still worshipping
Her dainty plumage:—all around her grew
A radiant circlet, like a fairy ring;
And all behind, a tiny little clue
Of light, to guide her back across the waters blue.
And sure she is no meaner than a fay,
Redeem'd from sleepy death, for beauty's sake,
By old ordainment:—silent as she lay,
Touched by a moonlight wand I saw her wake,
And cut her leafy slough, and so forsake
The verdant prison of her lily peers,
That slept amidst the stars upon the lake—
A breathing shape—restored to human fears,
And new-born love and grief—self-conscious of her
tears.
And now she clasps her wings around her heart,
And near that lonely isle begins to glide,
Pale as her fears, and oft-times with a start
Turns her impatient head from side to side
In universal terrors—all too wide
To watch; and often to that marble keep
Upturns her pearly eyes, as if she spied
Some foe, and crouches in the shadows steep
That in the gloomy wave go diving fathoms deep.
And well she may, to spy that fearful thing
All down the dusky walls in circlets wound;
Alas! for what rare prize, with many a ring
Girding the marble casket round and round?
His folded tail, lost in the gloom profound,
Terribly darkeneth the rocky base;
But on the top his monstrous head is crown'd
With prickly spears, and on his doubtful face
Gleam his unwearied eyes, red watchers of the place.
Alas! of the hot fires that nightly fall,
No one will scorch him in those orbs of spite,
So he may never see beneath the wall
That timid little creature, all too bright,
That stretches her fair neck, slender and white,
Invoking the pale moon, and vainly tries
Her throbbing throat, as if to charm the night
With song—but, hush—it perishes in sighs,
And there will be no dirge sad-swelling, though she dies!
She droops—she sinks—she leans upon the lake,
Fainting again into a lifeless flower;
But soon the chilly springs anoint and wake
Her spirit from its death, and with new power
She sheds her stifled sorrows in a shower
Of tender song, timed to her falling tears—
That wins the shady summit of that tower,
And, trembling all the sweeter for its fears,
Fills with imploring moan that cruel monster's ears.
And, lo! the scaly beast is all deprest,
Subdued like Argus by the might of sound—
What time Apollo his sweet lute addrest
To magic converse with the air, and bound
The many monster eyes, all slumber-drown'd:—
So on the turret-top that watchful Snake
Pillows his giant head, and lists profound,
As if his wrathful spite would never wake,
Charm'd into sudden sleep for Love and Beauty's sake!
His prickly crest lies prone upon his crown,
And thirsty lip from lip disparted flies,
To drink that dainty flood of music down—
His scaly throat is big with pent-up sighs—
And whilst his hollow ear entranced lies,
His looks for envy of the charmed sense
Are fain to listen, till his steadfast eyes,
Stung into pain by their own impotence,
Distil enormous tears into the lake immense.
Oh, tuneful Swan! oh, melancholy bird!
Sweet was that midnight miracle of song,
Rich with ripe sorrow, needful of no word
To tell of pain, and love, and love's deep wrong—
Hinting a piteous tale—perchance how long
Thy unknown tears were mingled with the lake,
What time disguised thy leafy mates among—
And no eye knew what human love and ache
Dwelt in those dewy leaves, and heart so nigh to break.
Therefore no poet will ungently touch
The water-lily, on whose eyelids dew
Trembles like tears; but ever hold it such
As human pain may wander through and through,
Turning the pale leaf paler in its hue—
Wherein life dwells, transfigured, not entomb'd,
By magic spells. Alas! who ever knew
Sorrow in all its shapes, leafy and plumed,
Or in gross husks of brutes eternally inhumed?
And now the winged song has scaled the height
Of that dark dwelling, builded for despair,
And soon a little casement flashing bright
Widens self-open'd into the cool air—
That music like a bird may enter there
And soothe the captive in his stony cage;
For there is nought of grief, or painful care,
But plaintive song may happily engage
From sense of its own ill, and tenderly assuage.
And forth into the light, small and remote,
A creature, like the fair son of a king,
Draws to the lattice in his jewell'd coat
Against the silver moonlight glistening,
And leans upon his white hand listening
To that sweet music that with tenderer tone
Salutes him, wondering what kindly thing
Is come to soothe him with so tuneful moan,
Singing beneath the walls as if for him alone!
And while he listens, the mysterious song,
Woven with timid particles of speech.
Twines into passionate words that grieve along
The melancholy notes, and softly teach
The secrets of true love,—that trembling reach
His earnest ear, and through the shadows dun
He missions like replies, and each to each
Their silver voices mingle into one,
Like blended streams that make one music as they run.
"Ah! Love, my hope is swooning in my heart,—"
"Ay, sweet, my cage is strong and hung full high—"
"Alas! our lips are held so far apart,
Thy words come faint,—they have so far to fly!—"
"If I may only shun that serpent-eye,—"
"Ah me! that serpent-eye doth never sleep;—"
"Then, nearer thee, Love's martyr, I will die!—"
"Alas, alas! that word has made me weep!
For pity's sake remain safe in thy marble keep!"
"My marble keep! it is my marble tomb—"
"Nay, sweet! but thou hast there thy living breath—"
"Aye to expend in sighs for this hard doom;—"
"But I will come to thee and sing beneath,"
"And nightly so beguile this serpent wreath;—"
"Nay, I will find a path from these despairs."
"Ah, needs then thou must tread the back of death,
Making his stony ribs thy stony stairs.—
Behold his ruby eye, how fearfully it glares!"
Full sudden at these words, the princely youth
Leaps on the scaly back that slumbers, still
Unconscious of his foot, yet not for ruth,
But numb'd to dulness by the fairy skill
Of that sweet music (all more wild and shrill
For intense fear) that charm'd him as he lay—
Meanwhile the lover nerves his desperate will,
Held some short throbs by natural dismay,
Then down the serpent-track begins his darksome way.
Now dimly seen—now toiling out of sight,
Eclipsed and cover'd by the envious wall;
Now fair and spangled in the sudden light,
And clinging with wide arms for fear of fall;
Now dark and shelter'd by a kindly pall
Of dusky shadow from his wakeful foe;
Slowly he winds adown—dimly and small,
Watch'd by the gentle Swan that sings below,
Her hope increasing, still, the larger he doth grow.
But nine times nine the serpent folds embrace
The marble walls about—which he must tread
Before his anxious foot may touch the base:
Long in the dreary path, and must be sped!
But Love, that holds the mastery of dread,
Braces his spirit, and with constant toil
He wins his way, and now, with arms outspread,
Impatient plunges from the last long coil;
So may all gentle Love ungentle Malice foil!
The song is hush'd, the charm is all complete,
And two fair Swans are swimming on the lake:
But scarce their tender bills have time to meet,
When fiercely drops adown that cruel Snake—
His steely scales a fearful rustling make,
Like autumn leaves that tremble and foretell
The sable storm;—the plumy lovers quake—
And feel the troubled waters pant and swell,
Heaved by the giant bulk of their pursuer fell.
His jaws, wide yawning like the gates of Death,
Hiss horrible pursuit—his red eyes glare
The waters into blood—his eager breath
Grows hot upon their plumes:—now, minstrel fair!
She drops her ring into the waves, and there
It widens all around, a fairy ring
Wrought of the silver light—the fearful pair
Swim in the very midst, and pant and cling
The closer for their fears, and tremble wing to wing.
Bending their course over the pale gray lake,
Against the pallid East, wherein light play'd
In tender flushes, still the baffled Snake
Circled them round continually, and bay'd
Hoarsely and loud, forbidden to invade
The sanctuary ring—his sable mail
Roll'd darkly through the flood, and writhed and made
A shining track over the waters pale,
Lash'd into boiling foam by his enormous tail.
And so they sail'd into the distance dim,
Into the very distance—small and white,
Like snowy blossoms of the spring that swim
Over the brooklets—follow'd by the spite
Of that huge Serpent, that with wild affright
Worried them on their course, and sore annoy,
Till on the grassy marge I saw them 'light,
And change, anon, a gentle girl and boy,
Lock'd in embrace of sweet unutterable joy!
Then came the Morn, and with her pearly showers
Wept on them, like a mother, in whose eyes
Tears are no grief; and from his rosy bowers
The Oriental sun began to rise,
Chasing the darksome shadows from the skies;
Wherewith that sable Serpent far away
Fled, like a part of night—delicious sighs
From waking blossoms purified the day,
And little birds were singing sweetly from each spray.
'Twas in that mellow season of the year
When the hot sun singes the yellow leaves
Till they be gold,—and with a broader sphere
The Moon looks down on Ceres and her sheaves;
When more abundantly the spider weaves,
And the cold wind breathes from a chillier clime;—
That forth I fared, on one of those still eves,
Touch'd with the dewy sadness of the time,
To think how the bright months had spent their prime,
So that, wherever I address'd my way,
I seem'd to track the melancholy feet
Of him that is the Father of Decay,
And spoils at once the sour weed and the sweet;—
Wherefore regretfully I made retreat
To some unwasted regions of my brain,
Charm'd with the light of summer and the heat,
And bade that bounteous season bloom again,
And sprout fresh flowers in mine own domain.
It was a shady and sequester'd scene,
Like those famed gardens of Boccaccio,
Planted with his own laurels evergreen,
And roses that for endless summer blow;
And there were fountain springs to overflow
Their marble basins,—and cool green arcades
Of tall o'erarching sycamores, to throw
Athwart the dappled path their dancing shades,—
With timid coneys cropping the green blades.
And there were crystal pools, peopled with fish,
Argent and gold; and some of Tyrian skin,
Some crimson-barr'd;—and ever at a wish
They rose obsequious till the wave grew thin
As glass upon their backs, and then dived in,
Quenching their ardent scales in watery gloom;
Whilst others with fresh hues row'd forth to win
My changeable regard,—for so we doom
Things born of thought to vanish or to bloom.
And there were many birds of many dyes,
From tree to tree still faring to and fro,
And stately peacocks with their splendid eyes,
And gorgeous pheasants with their golden glow,
Like Iris just bedabbled in her bow,
Beside some vocalists, without a name,
That oft on fairy errands come and go,
With accents magical;—and all were tame,
And peckled at my hand where'er I came.
And for my sylvan company, in lieu
Of Pampinea with her lively peers,
Sate Queen Titania with her pretty crew,
All in their liveries quaint, with elfin gears,
For she was gracious to my childish years,
And made me free of her enchanted round;
Wherefore this dreamy scene she still endears,
And plants her court upon a verdant mound,
Fenced with umbrageous woods and groves profound.
"Ah me," she cries, "was ever moonlight seen
So clear and tender for our midnight trips?
Go some one forth, and with a trump convene
My lieges all!"—Away the goblin skips
A pace or two apart, and deftly strips
The ruddy skin from a sweet rose's cheek,
Then blows the shuddering leaf between his lips,
Making it utter forth a shrill small shriek,
Like a fray'd bird in the gray owlet's beak.
And lo! upon my fix'd delighted ken
Appear'd the loyal Fays.—Some by degrees
Crept from the primrose buds that open'd then,
Ana some from bell-shaped blossoms like the bees,
Some from the dewy meads, and rushy leas,
Flew up like chafers when the rustics pass;
Some from the rivers, others from tall trees
Dropp'd, like shed blossoms, silent to the grass,
Spirits and elfins small, of every class.
Peri and Pixy, and quaint Puck the Antic,
Brought Robin Goodfellow, that merry swain;
And stealthy Mab, queen of old realms romantic,
Came too, from distance, in her tiny wain,
Fresh dripping from a cloud—some bloomy rain,
Then circling the bright Moon, had wash'd her car,
And still bedew'd it with a various stain:
Lastly came Ariel, shooting from a star,
Who bears all fairy embassies afar.
But Oberon, that night elsewhere exiled,
Was absent, whether some distemper'd spleen
Kept him and his fair mate unreconciled,
Or warfare with the Gnome (whose race had been
Sometime obnoxious), kept him from his queen,
And made her now peruse the starry skies
Prophetical, with such an absent mien;
Howbeit, the tears stole often to her eyes,
And oft the Moon was incensed with her sighs—
Which made the elves sport drearily, and soon
Their hushing dances languish'd to a stand,
Like midnight leaves, when, as the Zephyrs swoon,
All on their drooping stems they sink unfann'd,—
So into silence droop'd the fairy band,
To see their empress dear so pale and still,
Crowding her softly round on either hand,
As pale as frosty snowdrops, and as chill,
To whom the sceptred dame reveals her ill.
"Alas," quoth she, "ye know our fairy lives
Are leased upon the fickle faith of men;
Not measured out against Fate's mortal knives,
Like human gosamers,—we perish when
We fade and are forgot in worldly kens—
Though poesy has thus prolong'd our date,
Thanks be to the sweet Bard's auspicious pen
That rescued us so long!—howbeit of late
I feel some dark misgivings of our fate."
"And this dull day my melancholy sleep
Hath been so thronged with images of woe,
That even now I cannot choose but weep
To think this was some sad prophetic show
Of future horror to befall us so,
Of mortal wreck and uttermost distress,
Yea, our poor empire's fall and overthrow,
For this was my long vision's dreadful stress,
And when I waked my trouble was not less."
"Whenever to the clouds I tried to seek,
Such leaden weight dragg'd these Icarian wings,
My faithless wand was wavering and weak,
And slimy toads had trespass'd in our rings—
The birds refused to sing for me—all things
Disown'd their old allegiance to our spells;
The rude bees prick'd me with their rebel stings;
And, when I pass'd, the valley-lily's bells
Rang out, methought, most melancholy knells."
"And ever on the faint and flagging air
A doleful spirit with a dreary note
Cried in my fearful ear, 'Prepare! prepare!'
Which soon I knew came from a raven's throat,
Perch'd on a cypress-bough not far remote,—
A cursed bird, too crafty to be shot,
That alway cometh with his soot-black coat
To make hearts dreary:—for he is a blot
Upon the book of life, as well ye wot!—"
"Wherefore some while I bribed him to be mute,
With bitter acorns stuffing his foul maw,
Which barely I appeased, when some fresh bruit
Startled me all aheap!—and soon I saw
The horridest shape that ever raised my awe,—
A monstrous giant, very huge and tall,
Such as in elder times, devoid of law,
With wicked might grieved the primeval ball,
And this was sure the deadliest of them all!"
"Gaunt was he as a wolf of Languedoc,
With bloody jaws, and frost upon his crown
So from his barren poll one hoary lock
Over his wrinkled front fell far adown,
Well nigh to where his frosty brows did frown
Like jagged icicles at cottage eaves;
And for his coronal he wore some brown
And bristled ears gather'd from Ceres' sheaves,
Entwined with certain sere and russet leaves."
"And lo! upon a mast rear'd far aloft,
He bore a very bright and crescent blade,
The which he waved so dreadfully, and oft,
In meditative spite, that, sore dismay'd,
I crept into an acorn-cup for shade;
Meanwhile the horrid effigy went by:
I trow his look was dreadful, for it made
The trembling birds betake them to the sky,
For every leaf was lifted by his sigh."
"And ever, as he sigh'd, his foggy breath
Blurr'd out the landscape like a flight of smoke:
Thence knew I this was either dreary Death
Or Time, who leads all creatures to his stroke.
Ah wretched me!"—Here, even as she spoke,
The melancholy Shape came gliding in,
And lean'd his back against an antique oak,
Folding his wings, that were so fine and thin,
They scarce were seen against the Dryad's skin.
Then what a fear seized all the little rout!
Look how a flock of panick'd sheep will stare—
And huddle close—and start—and wheel about,
Watching the roaming mongrel here and there,—
So did that sudden Apparition scare
All close aheap those small affrighted things;
Nor sought they now the safety of the air,
As if some leaden spell withheld their wings;
But who can fly that ancientest of Kings?
Whom now the Queen, with a forestalling tear
And previous sigh, beginneth to entreat,
Bidding him spare, for love, her lieges dear:
"Alas!" quoth she, "is there no nodding wheat
Ripe for thy crooked weapon, and more meet,—
Or wither'd leaves to ravish from the tree,—
Or crumbling battlements for thy defeat?
Think but what vaunting monuments there be
Builded in spite and mockery of thee."
"O fret away the fabric walls of Fame,
And grind down marble Cæsars with the dust:
Make tombs inscriptionless—raze each high name,
And waste old armors of renown with rust:
Do all of this, and thy revenge is just:
Make such decays the trophies of thy prime,
And check Ambition's overweening lust,
That dares exterminating war with Time,—
But we are guiltless of that lofty crime."
"Frail feeble spirits!—the children of a dream!
Leased on the sufferance of fickle men,
Like motes dependent on the sunny beam,
Living but in the sun's indulgent ken,
And when that light withdraws, withdrawing then;—
So do we flutter in the glance of youth
And fervid fancy,—and so perish when
The eye of faith grows aged;—in sad truth,
Feeling thy sway, O Time! though not thy tooth!"
"Where be those old divinities forlorn,
That dwelt in trees, or haunted in a stream?
Alas! their memories are dimm'd and torn,
Like the remainder tatters of a dream:
So will it fare with our poor thrones, I deem;—
For us the same dark trench Oblivion delves,
That holds the wastes of every human scheme.
O spare us then,—and these our pretty elves,—
We soon, alas! shall perish of ourselves!"
Now as she ended, with a sigh, to name
Those old Olympians, scatter'd by the whirl
Of Fortune's giddy wheel and brought to shame,
Methought a scornful and malignant curl
Show'd on the lips of that malicious churl,
To think what noble havocs he had made;
So that I fear'd he all at once would hurl
The harmless fairies into endless shade,—
Howbeit he stopp'd awhile to whet his blade.
Pity it was to hear the elfins' wail
Rise up in concert from their mingled dread,
Pity it was to see them, all so pale,
Gaze on the grass as for a dying bed;—
But Puck was seated on a spider's thread,
That hung between two branches of a briar,
And 'gan to swing and gambol, heels o'er head,
Like any Southwark tumbler on a wire,
For him no present grief could long inspire.
Meanwhile the Queen with many piteous drops,
Falling like tiny sparks full fast and free,
Bedews a pathway from her throne;—and stops
Before the foot of her arch enemy,
And with her little arms enfolds his knee,
That shows more grisly from that fair embrace;
But she will ne'er depart. "Alas!" quoth she,
"My painful fingers I will here enlace
Till I have gain'd your pity for our race."
"What have we ever done to earn this grudge,
And hate—(if not too humble for thy hating?)—
Look o'er our labors and our lives, and judge
If there be any ills of our creating;
For we are very kindly creatures, dating
With nature's charities still sweet and bland:—
O think this murder worthy of debating!"
Herewith she makes a signal with her hand,
To beckon some one from the Fairy band.
Anon I saw one of those elfin things,
Clad all in white like any chorister,
Come fluttering forth on his melodious wings,
That made soft music at each little stir,
But something louder than a bee's demur
Before he lights upon a bunch of broom,
And thus 'gan he with Saturn to confer,—
And O his voice was sweet, touch'd with the gloom
Of that sad theme that argued of his doom!
Quoth he, "We make all melodies our care,
That no false discords may offend the Sun,
Music's great master—tuning everywhere
All pastoral sounds and melodies, each one
Duly to place and season, so that none
May harshly interfere. We rouse at morn
The shrill sweet lark; and when the day is done,
Hush silent pauses for the bird forlorn,
That singeth with her breast against a thorn."
"We gather in loud choirs the twittering race,
That make a chorus with their single note;
And tend on new-fledged birds in every place,
That duly they may get their tunes by rote;
And oft, like echoes, answering remote,
We hide in thickets from the feather'd throng,
And strain in rivalship each throbbing throat,
Singing in shrill responses all day long,
Whilst the glad truant listens to our song."
"Wherefore, great King of Years, as thou dost love
The raining music from a morning cloud,
When vanish'd larks are carolling above,
To wake Apollo with their pipings loud;—
If ever thou hast heard in leafy shroud
The sweet and plaintive Sappho of the dell,
Show thy sweet mercy on this little crowd,
And we will muffle up the sheepfold bell
Whene'er thou listenest to Philomel."
Then Saturn thus;—"Sweet is the merry lark,
That carols in man's ear so clear and strong;
And youth must love to listen in the dark
That tuneful elegy of Tereus' wrong;
But I have heard that ancient strain too long,
For sweet is sweet but when a little strange,
And I grow weary for some newer song;
For wherefore had I wings, unless to range
Through all things mutable, from change to change?"
"But would'st thou hear the melodies of Time,
Listen when sleep and drowsy darkness roll
Over hush'd cities, and the midnight chime
Sounds from their hundred clocks, and deep bells toll
Like a last knell over the dead world's soul,
Saying, 'Time shall be final of all things,
Whose late, last voice must elegize the whole,'—
O then I clap aloft my brave broad wings,
And make the wide air tremble while it rings!"
Then next a fair Eve-Fay made meek address,
Saying, "We be the handmaids of the Spring;
In sign whereof, May, the quaint broideress,
Hath wrought her samplers on our gauzy wing.
We tend upon buds birth and blossoming,
And count the leafy tributes that they owe—
As, so much to the earth—so much to fling
In showers to the brook—so much to go
In whirlwinds to the clouds that made them grow."
"The pastoral cowslips are our little pets,
And daisy stars, whose firmament is green;
Pansies, and those veil'd nuns, meek violets,
Sighing to that warm world from which they screen;
And golden daffodils, pluck'd for May's Queen;
And lonely harebells, quaking on the heath;
And Hyacinth, long since a fair youth seen,
Whose tuneful voice, turn'd fragrance in his breath,
Kiss'd by sad Zephyr, guilty of his death."
"The widow'd primrose weeping to the moon
And saffron crocus in whose chalice bright
A cool libation hoarded for the noon
Is kept—and she that purifies the light,
The virgin lily, faithful to her white,
Whereon Eve wept in Eden for her shame;
And the most dainty rose, Aurora's spright,
Our every godchild, by whatever name—
Spares us our lives, for we did nurse the same!"
Then that old Mower stamp'd his heel, and struck
His hurtful scythe against the harmless ground,
Saying, "Ye foolish imps, when am I stuck
With gaudy buds, or like a wooer crown'd
With flow'ry chaplets, save when they are found
Withered?—Whenever have I pluck'd a rose,
Except to scatter its vain leaves around?
For so all gloss of beauty I oppose,
And bring decay on every flow'r that blows."
"Or when am I so wroth as when I view
The wanton pride of Summer;—how she decks
The birthday world with blossoms ever-new,
As if Time had not lived, and heap'd great wrecks
Of years on years?—O then I bravely vex
And catch the gay Months in their gaudy plight,
And slay them with the wreaths about their necks,
Like foolish heifers in the holy rite,
And raise great trophies to my ancient might."
Then saith another, "We are kindly things,
And like her offspring nestle with the dove,—
Witness these hearts embroidered on our wings,
To show our constant patronage of love:—
We sit at even, in sweet bow'rs above
Lovers, and shake rich odors on the air,
To mingle with their sighs; and still remove
The startling owl, and bid the bat forbear
Their privacy, and haunt some other where."
"And we are near the mother when she sits
Beside her infant in its wicker bed;
And we are in the fairy scene that flits
Across its tender brain: sweet dreams we shed,
And whilst the tender little soul is fled,
Away, to sport with our young elves, the while
We touch the dimpled cheek with roses red,
And tickle the soft lips until they smile,
So that their careful parents they beguile."
"O then, if ever thou hast breathed a vow
At Love's dear portal, or at pale moon-rise
Crush'd the dear curl on a regardful brow,
That did not frown thee from thy honey prize—
If ever thy sweet son sat on thy thighs,
And wooed thee from thy careful thoughts within
To watch the harmless beauty of his eyes,
Or glad thy fingers on his smooth soft skin,
For Love's dear sake, let us thy pity win!"
Then Saturn fiercely thus:—"What joy have I
In tender babes, that have devour'd mine own,
Whenever to the light I heard them cry,
Till foolish Rhea cheated me with stone?
Whereon, till now, is my great hunger shown,
In monstrous dint of my enormous tooth;
And—but the peopled world is too full grown
For hunger's edge—I would consume all youth
At one great meal, without delay or ruth!"
"For I am well nigh crazed and wild to hear
How boastful fathers taunt me with their breed,
Saying, 'We shall not die nor disappear,
But, in these other selves, ourselves succeed
Ev'n as ripe flowers pass into their seed
Only to be renew'd from prime to prime,'
All of which boastings I am forced to read,
Besides a thousand challenges to Time,
Which bragging lovers have compiled in rhyme."
"Wherefore, when they are sweetly met o' nights,
There will I steal and with my hurried hand
Startle them suddenly from their delights
Before the next encounter hath been plann'd,
Ravishing hours in little minutes spann'd;
But when they say farewell, and grieve apart,
Then like a leaden statue I will stand,
Meanwhile their many tears encrust my dart,
And with a ragged edge cut heart from heart."
Then next a merry Woodsman, clad in green,
Step vanward from his mates, that idly stood
Each at his proper ease, as they had been
Nursed in the liberty of old Shérwood,
And wore the livery of Robin Hood,
Who wont in forest shades to dine and sup,—
So came this chief right frankly, and made good
His haunch against his axe, and thus spoke up,
Doffing his cap, which was an acorn's cup:—
"We be small foresters and gay, who tend
On trees, and all their furniture of green,
Training the young boughs airily to bend,
And show blue snatches of the sky between;—
Or knit more close intricacies, to screen
Birds' crafty dwellings, as may hide them best,
But most the timid blackbird's—she that, seen,
Will bear black poisonous berries to her nest,
Lest man should cage the darlings of her breast."
"We bend each tree in proper attitude,
And founting willows train in silvery falls;
We frame all shady roofs and arches rude,
And verdant aisles leading to Dryads' halls,
Or deep recesses where the Echo calls;—
We shape all plumy trees against the sky,
And carve tall elms' Corinthian capitals,—
When sometimes, as our tiny hatchets ply,
Men say, the tapping woodpecker is nigh."
"Sometimes we scoop the squirrel's hollow cell,
And sometimes carve quaint letters on trees' rind,
That haply some lone musing wight may spell
Dainty Aminta,—Gentle Rosalind,—
Or chastest Laura,—sweetly call'd to mind
In sylvan solitudes, ere he lies down;—
And sometimes we enrich gray stems with twined
And vagrant ivy,—or rich moss, whose brown
Burns into gold as the warm sun goes down."
"And, lastly, for mirth's sake and Christmas cheer,
We bear the seedling berries, for increase,
To graft the Druid oaks, from year to year,
Careful that mistletoe may never cease;—
Wherefore, if thou dost prize the shady peace
Of sombre forests, or to see light break
Through sylvan cloisters, and in spring release
Thy spirit amongst leaves from careful ake,
Spare us our lives for the Green Dryad's sake."
Then Saturn, with a frown:—"Go forth, and fell
Oak for your coffins, and thenceforth lay by
Your axes for the rust, and bid farewell
To all sweet birds, and the blue peeps of sky
Through tangled branches, for ye shall not spy
The next green generation of the tree;
But hence with the dead leaves, whene'e they fly,—
Which in the bleak air I would rather see,
Than flights of the most tuneful birds that be."
"For I dislike all prime, and verdant pets,
Ivy except, that on the aged wall
Prays with its worm-like roots, and daily frets
The crumbled tower it seems to league withal,
King-like, worn down by its own coronal:—
Neither in forest haunts love I to won,
Before the golden plumage 'gins to fall,
And leaves the brown bleak limbs with few leaves on,
Or bare—like Nature in her skeleton."
"For then sit I amongst the crooked boughs,
Wooing dull Memory with kindred sighs;
And there in rustling nuptials we espouse,
Smit by the sadness in each other's eyes;—
But Hope must have green bowers and blue skies,
And must be courted with the gauds of Spring;
Whilst Youth leans god-like on her lap, and cries,
'What shall we always do, but love and sing?'—
And Time is reckon'd a discarded thing."
Here in my dream it made me fret to see
How Puck, the antic, all this dreary while
Had blithely jested with calamity,
With mis-timed mirth mocking the doleful style
Of his sad comrades, till it raised my bile
To see him so reflect their grief aside,
Turning their solemn looks to have a smile—
Like a straight stick shown crooked in the tide;—
But soon a novel advocate I spied.
Quoth he—"We teach all natures to fulfil
Their fore-appointed crafts, and instincts meet,—
The bee's sweet alchemy,—the spider's skill,—
The pismire's care to garner up his wheat,—
And rustic masonry to swallows fleet,—
The lapwing's cunning to preserve her nest,—
But most, that lesser pelican, the sweet
And shrilly ruddock, with its bleeding breast,
Its tender pity of poor babes distrest."
"Sometimes we cast our shapes, and in sleek skins
Delve with the timid mole, that aptly delves
From our example; so the spider spins,
And eke the silk-worm, pattern'd by ourselves:
Sometimes we travail on the summer shelves
Of early bees, and busy toils commence,
Watch'd of wise men, that know not we are elves,
But gaze and marvel at our stretch of sense,
And praise our human-like intelligence."
"Wherefore, by thy delight in that old tale,
And plaintive dirges the late robins sing,
What time the leaves are scatter'd by the gale,
Mindful of that old forest burying;—
As thou dost love to watch each tiny thing,
For whom our craft most curiously contrives,
If thou hast caught a bee upon the wing,
To take his honey-bag,—spare us our lives,
And we will pay the ransom in full hives."
"Now by my glass," quoth Time, "ye do offend
In teaching the brown bees that careful lore,
And frugal ants, whose millions would have end,
But they lay up for need a timely store,
And travail with the seasons evermore;
Whereas Great Mammoth long hath pass'd away,
And none but I can tell what hide he wore;
Whilst purblind men, the creatures of a day,
In riddling wonder his great bones survey."
Then came an elf, right beauteous to behold,
Whose coat was like a brooklet that the sun
Hath all embroider'd with its crooked gold,
It was so quaintly wrought and overrun
With spangled traceries,—most meet for one
That was a warden of the pearly streams;—
And as he stept out of the shadows dun,
His jewels sparkled in the pale moon's gleams,
And shot into the air their pointed beams.
Quoth he,—"We bear the gold and silver keys
Of bubbling springs and fountains, that below
Course thro' the veiny earth,—which when they freeze
Into hard crysolites, we bid to flow,
Creeping like subtle snakes, when, as they go,
We guide their windings to melodious falls,
At whose soft murmurings, so sweet and low,
Poets have tuned their smoothest madrigals,
To sing to ladies in their banquet-halls."
"And when the hot sun with his steadfast heat
Parches the river god,—whose dusty urn
Drips miserly, till soon his crystal feet
Against his pebbly floor wax faint and burn
And languid fish, unpoised, grow sick and yearn,—
Then scoop we hollows in some sandy nook,
And little channels dig, wherein we turn
The thread-worn rivulet, that all forsook
The Naiad-lily, pining for her brook."
"Wherefore, by thy delight in cool green meads,
With living sapphires daintily inlaid,—
In all soft songs of waters and their reeds,—
And all reflections in a streamlet made,
Haply of thy own love, that, disarray'd,
Kills the fair lily with a livelier white,—
By silver trouts upspringing from green shade,
And winking stars reduplicate at night,
Spare us, poor ministers to such delight."
Howbeit his pleading and his gentle looks
Moved not the spiteful Shade:—Quoth he, "Your taste
Shoots wide of mine, for I despise the brooks
And slavish rivulets that run to waste
In noontide sweats, or, like poor vassals, haste
To swell the vast dominion of the sea,
In whose great presence I am held disgraced,
And neighbor'd with a king that rivals me
In ancient might and hoary majesty."
"Whereas I ruled in Chaos, and still keep
The awful secrets of that ancient dearth,
Before the briny fountains of the deep
Brimm'd up the hollow cavities of earth;—
I saw each trickling Sea-God at his birth,
Each pearly Naiad with her oozy locks,
And infant Titans of enormous girth,
Whose huge young feet yet stumbled on the rocks,
Stunning the early world with frequent shocks."
"Where now is Titan, with his cumbrous brood,
That scared the world?—By this sharp scythe they fell,
And half the sky was curdled with their blood:
So have all primal giants sigh'd farewell.
No wardens now by sedgy fountains dwell,
Nor pearly Naiads. All their days are done
That strove with Time, untimely, to excel;
Wherefore I razed their progenies, and none
But my great shadow intercepts the sun!"
Then saith the timid Fay—"Oh, mighty Time!
Well hast thou wrought the cruel Titans' fall,
For they were stain'd with many a bloody crime:
Great giants work great wrongs,—but we are small,
For love goes lowly;—but Oppression's tall,
And with surpassing strides goes foremost still
Where love indeed can hardly reach at all;
Like a poor dwarf o'erburthen'd with good will,
That labors to efface the tracks of ill.—"
"Man even strives with Man, but we eschew
The guilty feud, and all fierce strifes abhor;
Nay, we are gentle as the sweet heaven's dew,
Beside the red and horrid drops of war,
Weeping the cruel hates men battle for,
Which worldly bosoms nourish in our spite:
For in the gentle breast we ne'er withdraw,
But only when all love hath taken flight,
And youth's warm gracious heart is hardened quite."
"So are our gentle natures intertwined
With sweet humanities, and closely knit
In kindly sympathy with human kind.
Witness how we befriend, with elfin wit,
All hopeless maids and lovers,—nor omit
Magical succors unto hearts forlorn:—
We charm man's life, and do not perish it;—
So judge us by the helps we showed this morn,
To one who held his wretched days in scorn."
"'Twas nigh sweet Amwell;—for the Queen had task'd
Our skill to-day amidst the silver Lea,
Whereon the noontide sun had not yet bask'd,
Wherefore some patient man we thought to see,
Planted in moss-grown rushes to the knee,
Beside the cloudy margin cold and dim;—
Howbeit no patient fisherman was he
That cast his sudden shadow from the brim,
Making us leave our toils to gaze on him."
"His face was ashy pale, and leaden care
Had sunk the levell'd arches of his brow,
Once bridges for his joyous thoughts to fare
Over those melancholy springs and slow,
That from his piteous eyes began to flow,
And fell anon into the chilly stream;
Which, as his mimick'd image show'd below,
Wrinkled his face with many a needless seam,
Making grief sadder in its own esteem."
"And lo! upon the air we saw him stretch
His passionate arms; and, in a wayward strain,
He 'gan to elegize that fellow wretch
That with mute gestures answer'd him again,
Saying, 'Poor slave, how long wilt thou remain
Life's sad weak captive in a prison strong,
Hoping with tears to rust away thy chain,
In bitter servitude to worldly wrong?—
Thou wear'st that mortal livery too long!'"
"This, with more spleenful speeches and some tears,
When he had spent upon the imaged wave,
Speedily I convened my elfin peers
Under the lily-cups, that we might save
This woeful mortal from a wilful grave
By shrewd diversions of his mind's regret,
Seeing he was mere Melancholy's slave,
That sank wherever a dark cloud he met,
And straight was tangled in her secret net."
"Therefore, as still he watch'd the water's flow,
Daintily we transform'd, and with bright fins
Came glancing through the gloom; some from below
Rose like dim fancies when a dream begins,
Snatching the light upon their purple skins;
Then under the broad leaves made slow retire:
One like a golden galley bravely wins
Its radiant course,—another glows like fire,—
Making that wayward man our pranks admire."
"And so he banish'd thought, and quite forgot
All contemplation of that wretched face;
And so we wiled him from that lonely spot
Along the river's brink; till, by heaven's grace,
He met a gentle haunter of the place,
Full of sweet wisdom gather'd from the brooks,
Who there discuss'd his melancholy case
With wholesome texts learned from kind nature's books,
Meanwhile he newly trimm'd his lines and hooks."
Herewith the Fairy ceased. Quoth Ariel now—
"Let me remember how I saved a man,
Whose fatal noose was fastened on a bough,
Intended to abridge his sad life's span;
For haply I was by when he began
His stern soliloquy in life dispraise,
And overheard his melancholy plan,
How he had made a vow to end his days,
And therefore follow'd him in all his ways."
"Through brake and tangled copse, for much he loathed
All populous haunts, and roam'd in forests rude,
To hide himself from man. But I had clothed
My delicate limbs with plumes, and still pursued,
Where only foxes and wild cats intrude,
Till we were come beside an ancient tree
Late blasted by a storm. Here he renew'd
His loud complaints,—choosing that spot to be
The scene of his last horrid tragedy."
"It was a wild and melancholy glen,
Made gloomy by tall firs and cypress dark,
Whose roots, like any bones of buried men,
Push'd through the rotten sod for fear's remark;
A hundred horrid stems, jagged and stark,
Wrestled with crooked arms in hideous fray,
Besides sleek ashes with their dappled bark,
Like crafty serpents climbing for a prey,
With many blasted oaks moss-grown and gray."
"But here upon his final desperate clause
Suddenly I pronounced so sweet a strain,
Like a pang'd nightingale, it made him pause,
Till half the frenzy of his grief was slain,
The sad remainder oozing from his brain
In timely ecstasies of healing tears,
Which through his ardent eyes began to drain;—
Meanwhile the deadly Fates unclosed their shears:—
So pity me and all my fated peers!"
Thus Ariel ended, and was some time hush'd:
When with the hoary shape a fresh tongue pleads,
And red as rose the gentle Fairy blush'd
To read the records of her own good deeds:—
"It chanced," quoth she, "in seeking through the meads
For honied cowslips, sweetest in the morn,
Whilst yet the buds were hung with dewy beads."
And Echo answered to the huntsman's horn,
We found a babe left in the swaths forlorn.
"A little, sorrowful, deserted thing,
Begot of love, and yet no love begetting;
Guiltless of shame, and yet for shame to wring;
And too soon banish'd from a mother's petting,
To churlish nurture and the wide world's fretting,
For alien pity and unnatural care;—
Alas! to see how the cold dew kept wetting
His childish coats, and dabbled all his hair,
Like gossamers across his forehead fair."
"His pretty pouting mouth, witless of speech,
Lay half-way open like a rose-lipp'd shell;
And his young cheek was softer than a peach,
Whereon his tears, for roundness, could not dwell,
But quickly roll'd themselves to pearls, and fell,
Some on the grass, and some against his hand,
Or haply wander'd to the dimpled well,
Which love beside his mouth had sweetly plann'd,
Yet not for tears, but mirth and smilings bland."
"Pity it was to see those frequent tears
Falling regardless from his friendless eyes;
There was such beauty in those twin blue spheres,
As any mother's heart might leap to prize;
Blue were they, like the zenith of the skies
Softened betwixt two clouds, both clear and mild;—
Just touched with thought, and yet not over wise,
They show'd the gentle spirit of a child,
Not yet by care or any craft defiled."
"Pity it was to see the ardent sun
Scorching his helpless limbs—it shone so warm;
For kindly shade or shelter he had none,
Nor mother's gentle breast, come fair or storm.
Meanwhile I bade my pitying mates transform
Like grasshoppers, and then, with shrilly cries,
All round the infant noisily we swarm,
Haply some passing rustic to advise—
Whilst providential Heaven our care espies."
"And sends full soon a tender-hearted hind,
Who, wond'ring at our loud unusual note,
Strays curiously aside, and so doth find
The orphan child laid in the grass remote,
And laps the foundling in his russet coat,
Who thence was nurtured in his kindly cot:—
But how he prosper'd let proud London quote,
How wise, how rich, and how renown'd he got,
And chief of all her citizens, I wot."
"Witness his goodly vessels on the Thames,
Whose holds were fraught with costly merchandise,—
Jewels from Ind, and pearls for courtly dames,
And gorgeous silks that Samarcand supplies:
Witness that Royal Bourse he bade arise,
The mart of merchants from the East and West:
Whose slender summit, pointing to the skies,
Still bears, in token of his grateful breast,
The tender grasshopper, his chosen crest—"
"The tender grasshopper, his chosen crest,
That all the summer, with a tuneful wing,
Makes merry chirpings in its grassy nest,
Inspirited with dew to leap and sing:—
So let us also live, eternal King!
Partakers of the green and pleasant earth:—
Pity it is to slay the meanest thing,
That, like a mote, shines in the smile of mirth:—
Enough there is of joy's decrease and dearth!"
"Enough of pleasure, and delight, and beauty,
Perish'd and gone, and hasting to decay;—
Enough to sadden even thee, whose duty
Or spite it is to havoc and to slay:
Too many a lovely race razed quite away,
Hath left large gaps in life and human loving;—
Here then begin thy cruel war to stay,
And spare fresh sighs, and tears, and groans, reproving
Thy desolating hand for our removing."
Now here I heard a shrill and sudden cry,
And, looking up, I saw the antic Puck
Grappling with Time, who clutch'd him like a fly,
Victim of his own sport,—the jester's luck!
He, whilst his fellows grieved, poor wight, had stuck
His freakish gauds upon the Ancient's brow,
And now his ear, and now his beard, would pluck;
Whereas the angry churl had snatched him now,
Crying, "Thou impish mischief, who art thou?"
"Alas!" quoth Puck, "a little random elf,
Born in the sport of nature, like a weed,
For simple sweet enjoyment of myself,
But for no other purpose, worth, or need;
And yet withal of a most happy breed;
And there is Robin Goodfellow besides,
My partner dear in many a prankish deed
To make dame Laughter hold her jolly sides,
Like merry mummers twain on holy tides."
"'Tis we that bob the angler's idle cork,
Till e'en the patient man breathes half a curse;
We steal the morsel from the gossip's fork,
And curdling looks with secret straws disperse,
Or stop the sneezing chanter at mid verse:
And when an infant's beauty prospers ill,
We change, some mothers say, the child at nurse:
But any graver purpose to fulfil,
We have not wit enough, and scarce the will."
"We never let the canker melancholy
To gather on our faces like a rust,
But glass our features with some change of folly,
Taking life's fabled miseries on trust,
But only sorrowing when sorrow must:
We ruminate no sage's solemn cud,
But own ourselves a pinch of lively dust
To frisk upon a wind,—whereas the flood
Of tears would turn us into heavy mud."
"Beshrew those sad interpreters of nature,
Who gloze her lively universal law,
As if she had not form'd our cheerful feature
To be so tickled with the slightest straw!
So let them vex their mumbling mouths, and draw
The corners downward, like a wat'ry moon,
And deal in gusty sighs and rainy flaw—
We will not woo foul weather all too soon,
Or nurse November on the lap of June."
"For ours are winging sprites, like any bird,
That shun all stagnant settlements of grief;
And even in our rest our hearts are stirr'd,
Like insects settled on a dancing leaf:—
This is our small philosophy in brief,
Which thus to teach hath set me all agape:
But dost thou relish it? O hoary chief!
Unclasp thy crooked fingers from my nape,
And I will show thee many a pleasant scrape."
Then Saturn thus:—shaking his crooked blade
O'erhead, which made aloft a lightning flash
In all the fairies' eyes, dismally fray'd!
His ensuing voice came like the thunder crash—
Meanwhile the bolt shatters some pine or ash—
"Thou feeble, wanton, foolish, fickle thing!
Whom nought can frighten, sadden, or abash,—
To hope my solemn countenance to wring
To idiot smiles!—but I will prune thy wing!"
"Lo! this most awful handle of my scythe
Stood once a May-pole, with a flowery crown,
Which rustics danced around, and maidens blithe,
To wanton pipings;—but I pluck'd it down,
And robed the May Queen in a churchyard gown,
Turning her buds to rosemary and rue;
And all their merry minstrelsy did drown,
And laid each lusty leaper in the dew;—
So thou shalt fare—and every jovial crew!"
Here he lets go the struggling imp, to clutch.
His mortal engine with each grisly hand,
Which frights the elfin progeny so much,
They huddle in a heap, and trembling stand
All round Titania, like the queen bee's band,
With sighs and tears and very shrieks of woe!—
Meanwhile, some moving argument I plann'd,
To make the stern Shade merciful,—when lo!
He drops his fatal scythe without a blow!
For, just at need, a timely Apparition
Steps in between, to bear the awful brunt;
Making him change his horrible position,
To marvel at this comer, brave and blunt,
That dares Time's irresistible affront,
Whose strokes have scarr'd even the gods of old;—
Whereas this seem'd a mortal, at mere hunt
For coneys, lighted by the moonshine cold,
Or stalker of stray deer, stealthy and bold.
Who, turning to the small assembled fays,
Doffs to the lily queen his courteous cap,
And holds her beauty for a while in gaze,
With bright eyes kindling at this pleasant hap;
And thence upon the fair moon's silver map,
As if in question of this magic chance,
Laid like a dream upon the green earth's lap;
And then upon old Saturn turns askance,
Exclaiming, with a glad and kindly glance:—
"Oh, these be Fancy's revelers by night!
Stealthy companions of the downy moth—
Diana's motes, that flit in her pale light,
Shunners of sunbeams in diurnal sloth;—
These be the feasters on night's silver cloth;—
The gnat with shrilly trump is their convener,
Forth from their flowery chambers, nothing loth,
With lulling tunes to charm the air serener,
Or dance upon the grass to make it greener."
"These be the pretty genii of the flow'rs,
Daintily fed with honey and pure dew—
Midsummer's phantoms in her dreaming hours,
King Oberon, and all his merry crew,
The darling puppets of romance's view;
Fairies, and sprites, and goblin elves we call them,
Famous for patronage of lovers true;—
No harm they act, neither shall harm befall them,
So do not thus with crabbed frowns appal them."
O what a cry was Saturn's then!—it made
The fairies quake. "What care I for their pranks,
However they may lovers choose to aid,
Or dance their roundelays on flow'ry banks?—
Long must they dance before they earn my thanks,—
So step aside, to some far safer spot,
Whilst with my hungry scythe I mow their ranks,
And leave them in the sun, like weeds, to rot,
And with the next day's sun to be forgot."
Anon, he raised afresh his weapon keen;
But still the gracious Shade disarm'd his aim,
Stepping with brave alacrity between,
And made his sore arm powerless and tame.
His be perpetual glory, for the shame
Of hoary Saturn in that grand defeat!—
But I must tell how here Titania, came
With all her kneeling lieges, to entreat
His kindly succor, in sad tones, but sweet.
Saying, "Thou seest a wretched queen before thee,
The fading power of a failing land,
Who for a kingdom kneeleth to implore thee,
Now menaced by this tyrant's spoiling hand;
No one but thee can hopefully withstand
That crooked blade, he longeth so to lift.
I pray thee blind him with his own vile sand,
Which only times all ruins by its drift,
Or prune his eagle wings that are so swift."
"Or take him by that sole and grizzled tuft,
That hangs upon his bald and barren crown;
And we will sing to see him so rebuff'd,
And lend our little mights to pull him down,
And make brave sport of his malicious frown,
For all his boastful mockery o'er men.
For thou wast born, I know, for this renown,
By my most magical and inward ken,
That readeth ev'n at Fate's forestalling pen."
"Nay, by the golden lustre of thine eye,
And by thy brow's most fair and ample span,
Thought's glorious palace, framed for fancies high,
And by thy cheek thus passionately wan,
I know the signs of an immortal man,—
Nature's chief darling, and illustrious mate,
Destined to foil old Death's oblivious plan,
And shine untarnish'd by the fogs of Fate,
Time's famous rival till the final date!"
"O shield us then from this usurping Time,
And we will visit thee in moonlight dreams;
And teach thee tunes, to wed unto thy rhyme,
And dance about thee in all midnight gleams,
Giving thee glimpses of our magic schemes,
Such as no mortal's eye hath ever seen;
And, for thy love to us in our extremes,
Will ever keep thy chaplet fresh and green,
Such as no poet's wreath hath ever been!"
"And we'll distil thee aromatic dews,
To charm thy sense, when there shall be no flow'rs;
And flavor'd syrups in thy drinks infuse,
And teach the nightingale to haunt thy bow'rs,
And with our games divert thy weariest hours,
With all that elfin wits can e'er devise.
And, this churl dead, there'll be no hasting hours
To rob thee of thy joys, as now joy flies":—
Here she was stopp'd by Saturn's furious cries.
Whom, therefore, the kind Shade rebukes anew,
Saying, "Thou haggard Sin, go forth, and scoop
Thy hollow coffin in some churchyard yew,
Or make th' autumnal flow'rs turn pale, and droop;
Or fell the bearded corn, till gleaners stoop
Under fat sheaves,—or blast the piny grove;—
But here thou shall not harm this pretty group,
Whose lives are not so frail and feebly wove,
But leased on Nature's loveliness and love."
"'Tis these that free the small entangled fly,
Caught in the venom'd spider's crafty snare;—
These be the petty surgeons that apply
The healing balsams to the wounded hare,
Bedded in bloody fern, no creature's care!—
These be providers for the orphan brood,
Whose tender mother hath been slain in air,
Quitting with gaping bill her darling's food,
Hard by the verge of her domestic wood."
"'Tis these befriend the timid trembling stag,
When, with a bursting heart beset with fears,
He feels his saving speed begin to flag;
For then they quench the fatal taint with tears,
And prompt fresh shifts in his alarum'd ears,
So piteously they view all bloody morts;
Or if the gunner, with his arms, appears,
Like noisy pyes and jays, with harsh reports,
They warn the wild fowl of his deadly sports."
"For these are kindly ministers of nature,
To soothe all covert hurts and dumb distress;
Pretty they be, and very small of stature,—
For mercy still consorts with littleness;—
Wherefore the sum of good is still the less,
And mischief grossest in this world of wrong;—
So do these charitable dwarfs redress
The tenfold ravages of giants strong,
To whom great malice and great might belong."
"Likewise to them are Poets much beholden
For secret favors in the midnight glooms;
Brave Spenser quaff'd out of their goblets golden,
And saw their tables spread of prompt mushrooms,
And heard their horns of honeysuckle blooms
Sounding upon the air most soothing soft,
Like humming bees busy about the brooms,—
And glanced this fair queen's witchery full oft,
And in her magic wain soar'd far aloft."
"Nay I myself, though mortal, once was nursed
By fairy gossips, friendly at my birth,
And in my childish ear glib Mab rehearsed
Her breezy travels round our planet's girth,
Telling me wonders of the moon and earth;
My gramarye at her grave lap I conn'd,
Where Puck hath been convened to make me mirth;
I have had from Queen Titania tokens fond,
And toy'd with Oberon's permitted wand."
"With figs and plums and Persian dates they fed me,
And delicate cates after my sunset meal,
And took me by my childish hand, and led me
By craggy rocks crested with keeps of steel,
Whose awful bases deep dark woods conceal,
Staining some dead lake with their verdant dyes.
And when the West sparkled at Phoebus' wheel,
With fairy euphrasy they purged mine eyes,
To let me see their cities in the skies."
"'Twas they first school'd my young imagination
To take its flights like any new-fledged bird,
And show'd the span of winged meditation
Stretch'd wider than things grossly seen or heard.
With sweet swift Ariel how I soar'd and stirr'd
The fragrant blooms of spiritual bow'rs!
'Twas they endear'd what I have still preferr'd,
Nature's blest attributes and balmy pow'rs,
Her hills and vales and brooks, sweet birds and flow'rs."
"Wherefore with all true loyalty and duty
Will I regard them in my honoring rhyme,
With love for love, and homages to beauty,
And magic thoughts gather'd in night's cool clime,
With studious verse trancing the dragon Time,
Strong as old Merlin's necromantic spells;
So these dear monarchs of the summer's prime
Shall live unstartled by his dreadful yells,
Till shrill larks warn them to their flowery cells."
Look how a poison'd man turns livid black,
Drugg'd with a cup of deadly hellebore,
That sets his horrid features all at rack,—
So seem'd these words into the ear to pour
Of ghastly Saturn, answering with a roar
Of mortal pain and spite and utmost rage,
Wherewith his grisly arm he raised once more,
And bade the cluster'd sinews all engage,
As if at one fell stroke to wreck an age.
Whereas the blade flash'd on the dinted ground,
Down through his steadfast foe, yet made no scar
On that immortal Shade, or death-like wound;
But Time was long benumb'd, and stood ajar,
And then with baffled rage took flight afar,
To weep his hurt in some Cimmerian gloom,
Or meaner fames (like mine) to mock and mar,
Or sharp his scythe for royal strokes of doom,
Whetting its edge on some old Cæsar's tomb.
Howbeit he vanish'd in the forest shade,
Distantly heard as if some grumbling pard,
And, like Nymph Echo, to a sound decay'd;—
Meanwhile the fays cluster'd the gracious Bard,
The darling centre of their dear regard:
Besides of sundry dances on the green,
Never was mortal man so brightly starr'd,
Or won such pretty homages, I ween.
"Nod to him, Elves!" cries the melodious queen.
"Nod to him, Elves, and flutter round about him,
And quite enclose him with your pretty crowd,
And touch him lovingly, for that, without him,
The silkworm now had spun our dreary shroud;—
But he hath all dispersed Death's tearful cloud,
And Time's dread effigy scared quite away:
Bow to him then, as though to me ye bow'd,
And his dear wishes prosper and obey
Wherever love and wit can find a way!"
"'Noint him with fairy dews of magic savors,
Shaken from orient buds still pearly wet,
Roses and spicy pinks,—and, of all favors,
Plant in his walks the purple violet,
And meadow-sweet under the hedges set,
To mingle breaths with dainty eglantine
And honeysuckles sweet,—nor yet forget
Some pastoral flowery chaplets to entwine,
To vie the thoughts about his brow benign!"
"Let no wild things astonish him or fear him,
But tell them all how mild he is of heart,
Till e'en the timid hares go frankly near him,
And eke the dappled does, yet never start;
Nor shall their fawns into the thickets dart,
Nor wrens forsake their nests among the leaves,
Nor speckled thrushes flutter far apart;—
But bid the sacred swallow haunt his eaves,
To guard his roof from lightning and from thieves."
"Or when he goes the nimble squirrel's visitor,
Let the brown hermit bring his hoarded nuts,
For, tell him, this is Nature's kind Inquisitor,—
Though man keeps cautious doors that conscience shuts,
For conscious wrong all curious quest rebuts,—
Nor yet shall bees uncase their jealous stings,
However he may watch their straw-built huts;—
So let him learn the crafts of all small things,
Which he will hint most aptly when he sings."
Here she leaves off, and with a graceful hand
Waves thrice three splendid circles round his head;
Which, though deserted by the radiant wand,
Wears still the glory which her waving shed,
Such as erst crown'd the old Apostle's head,
To show the thoughts there harbor'd were divine,
And on immortal contemplations fed:—
Goodly it was to see that glory shine
Around a brow so lofty and benign!—
Goodly it was to see the elfin brood
Contend for kisses of his gentle hand,
That had their mortal enemy withstood,
And stay'd their lives, fast ebbing with the sand.
Long while this strife engaged the pretty band;
But now bold Chanticleer, from farm to farm,
Challenged the dawn creeping o'er eastern land,
And well the fairies knew that shrill alarm,
Which sounds the knell of every elfish charm.
And soon the rolling mist, that 'gan arise
From plashy mead and undiscover'd stream,
Earth's morning incense to the early skies,
Crept o'er the failing landscape of my dream.
Soon faded then the Phantom of my theme—
A shapeless shade, that fancy disavowed,
And shrank to nothing in the mist extreme,
Then flew Titania,—and her little crowd,
Like flocking linnets, vanished in a cloud.
It is not with a hope my feeble praise
Can add one moment's honor to thy own,
That with thy mighty name I grace these lays;
I seek to glorify myself alone:
For that some precious favor thou hast shown
To my endeavor in a bygone time,
And by this token I would have it known
Thou art my friend, and friendly to my rhyme!
It is my dear ambition now to climb
Still higher in thy thought,—if my bold pen
May thrust on contemplations more sublime.—
But I am thirsty for thy praise, for when
We gain applauses from the great in name,
We seem to be partakers of their fame.
Oh Bards of old! What sorrows have ye sung,
And tragic stories, chronicled in stone,—
Sad Philomel restored her ravish'd tongue,
And transform'd Niobe in dumbness shown;
Sweet Sappho on her love forever calls,
And Hero on the drown'd Leander falls!
Was it that spectacles of sadder plights
Should make our blisses relish the more high?
Then all fair dames, and maidens, and true knights,
Whose flourish'd fortunes prosper in Love's eye,
Weep here, unto a tale of ancient grief,
Traced from the course of an old bas-relief.
There stands Abydos!—here is Sestos' steep,
Hard by the gusty margin of the sea,
Where sprinkling waves continually do leap;
And that is where those famous lovers be,
A builded gloom shot up into the gray,
As if the first tall watch-tow'r of the day.
Lo! how the lark soars upward and is gone;
Turning a spirit as he nears the sky,
His voice is heard, though body there is none,
And rain-like music scatters from on high;
But Love would follow with a falcon spite,
To pluck the minstrel from his dewy height.
For Love hath framed a ditty of regrets,
Tuned to the hollow sobbings on the shore,
A vexing sense, that with like music frets,
And chimes this dismal burthen o'er and o'er,
Saying, Leander's joys are past and spent,
Like stars extinguish'd in the firmament.
For ere the golden crevices of morn
Let in those regal luxuries of light,
Which all the variable east adorn,
And hang rich fringes on the skirts of night,
Leander, weaning from sweet Hero's side,
Must leave a widow where he found a bride.
Hark! how the billows beat upon the sand!
Like pawing steeds impatient of delay;
Meanwhile their rider, ling'ring on the land,
Dallies with love, and holds farewell at bay
A too short span.—How tedious slow is grief!
But parting renders time both sad and brief.
"Alas!" (he sigh'd), "that this first glimpsing light,
Which makes the wide world tenderly appear,
Should be the burning signal for my flight
From all the world's best image, which is here;
Whose very shadow, in my fond compare,
Shines far more bright than Beauty's self elsewhere."
Their cheeks are white as blossoms of the dark,
Whose leaves close up and show the outward pale,
And those fair mirrors where their joys did spark,
All dim and tarnish'd with a dreary veil,
No more to kindle till the night's return,
Like stars replenish'd at Joy's golden urn.
Ev'n thus they creep into the spectral gray,
That cramps the landscape in its narrow brim,
As when two shadows by old Lethe stray,
He clasping her, and she entwining him;
Like trees, wind-parted, that embrace anon,—
True love so often goes before 'tis gone.
For what rich merchant but will pause in fear,
To trust his wealth to the unsafe abyss?
So Hero dotes upon her treasure here,
And sums the loss with many an anxious kiss,
Whilst her fond eyes grow dizzy in her head,
Fear aggravating fear with shows of dread.
She thinks how many have been sunk and drown'd,
And spies their snow-white bones below the deep,
Then calls huge congregated monsters round,
And plants a rock wherever he would leap;
Anon she dwells on a fantastic dream,
Which she interprets of that fatal stream.
Saying, "That honied fly I saw was thee,
Which lighted on a water-lily's cup,
When, lo! the flower, enamor'd of my bee,
Closed on him suddenly and lock'd him up,
And he was smother'd in her drenching dew;
Therefore this day thy drowning I shall rue."
But next, remembering her virgin fame,
She clips him in her arms and bids him go,
But seeing him break loose, repents her shame,
And plucks him back upon her bosom's snow;
And tears unfix her iced resolve again,
As steadfast frosts are thaw'd by show'rs of rain.
O for a type of parting!—Love to love
Is like the fond attraction of two spheres,
Which needs a godlike effort to remove,
And then sink down their sunny atmospheres,
In rain and darkness on each ruin'd heart,
Nor yet their melodies will sound apart.
So brave Leander sunders from his bride;
The wrenching pang disparts his soul in twain;
Half stays with her, half goes towards the tide,—
And life must ache, until they join again.
Now wouldst thou know the wideness of the wound?—
Mete every step he takes upon the ground.
And for the agony and bosom-throe,
Let it be measured by the wide vast air,
For that is infinite, and so is woe,
Since parted lovers breathe it everywhere.
Look how it heaves Leander's laboring chest,
Panting, at poise, upon a rocky crest!
From which he leaps into the scooping brine,
That shocks his bosom with a double chill;
Because, all hours, till the slow sun's decline,
That cold divorcer will be 'twixt them still;
Wherefore he likens it to Styx' foul tide,
Where life grows death upon the other side.
Then sadly he confronts his twofold toil
Against rude waves and an unwilling mind,
Wishing, alas! with the stout rower's toil,
That like a rower he might gaze behind,
And watch that lonely statue he hath left,
On her bleak summit, weeping and bereft!
Yet turning oft, he sees her troubled locks
Pursue him still the furthest that they may;
Her marble arms that overstretch the rocks,
And her pale passion'd hands that seem to pray
In dumb petition to the gods above:
Love prays devoutly when it prays for love!
Then with deep sighs he blows away the wave,
That hangs superfluous tears upon his cheek,
And bans his labor like a hopeless slave,
That, chain'd in hostile galley, faint and weak,
Plies on despairing through the restless foam,
Thoughtful of his lost love, and far-off home.
The drowsy mist before him chill and dank,
Like a dull lethargy o'erleans the sea,
When he rows on against the utter blank,
Steering as if to dim eternity,—
Like Love's frail ghost departing with the dawn;
A failing shadow in the twilight drawn.
And soon is gone,—or nothing but a faint
And failing image in the eye of thought,
That mocks his model with an after-paint,
And stains an atom like the shape she sought;
Then with her earnest vows she hopes to fee
The old and hoary majesty of sea.
"O King of waves, and brother of high Jove,
Preserve my sumless venture there afloat;
A woman's heart, and its whole wealth of love,
Are all embark'd upon that little boat;
Nay!—but two loves, two lives, a double fate,—
A perilous voyage for so dear a freight."
"If impious mariners be stain'd with crime,
Shake not in awful rage thy hoary locks;
Lay by thy storms until another time,
Lest my frail bark be dash'd against the rocks:
O rather smooth thy deeps, that he may fly
Like Love himself, upon a seeming sky!"
"Let all thy herded monsters sleep beneath,
Nor gore him with crook'd tusks, or wreathëd horns;
Let no fierce sharks destroy him with their teeth,
Nor spine-fish wound him with their venom'd thorns;
But if he faint, and timely succor lack,
Let ruthful dolphins rest him on their back."
"Let no false dimpling whirlpools suck him in,
Nor slimy quicksands smother his sweet breath;
Let no jagg'd corals tear his tender skin,
Nor mountain billows bury him in death";—
And with that thought forestalling her own fears,
She drowned his painted image in her tears.
By this, the climbing Sun, with rest repair'd,
Look'd through the gold embrasures of the sky,
And ask'd the drowsy world how she had fared;—
The drowsy world shone brighten'd in reply;
And smiling off her fogs, his slanting beam
Spied young Leander in the middle stream.
His face was pallid, but the hectic morn
Had hung a lying crimson on his cheeks,
And slanderous sparkles in his eyes forlorn;
So death lies ambush'd in consumptive streaks;
But inward grief was writhing o'er its task,
As heart-sick jesters weep behind the mask.
He thought of Hero and the lost delight,
Her last embracings, and the space between;
He thought of Hero and the future night,
Her speechless rapture and enamor'd mien,
When, lo! before him, scarce two galleys' space,
His thoughts confronted with another face!
Her aspect's like a moon, divinely fair,
But makes the midnight darker that it lies on;
'Tis so beclouded with her coal-black hair
That densely skirts her luminous horizon,
Making her doubly fair, thus darkly set,
As marble lies advantaged upon jet.
She's all too bright, too argent, and too pale,
To be a woman;—but a woman's double,
Reflected, on the wave so faint and frail,
She tops the billows like an air-blown bubble;
Or dim creation of a morning dream,
Fair as the wave-bleached lily of the stream.
The very rumor strikes his seeing dead:
Great beauty like great fear first stuns the sense:
He knows not if her lips be blue or red,
Nor of her eyes can give true evidence:
Like murder's witness swooning in the court,
His sight falls senseless by its own report.
Anon resuming, it declares her eyes
Are tint with azure, like two crystal wells
That drink the blue complexion of the skies,
Or pearls outpeeping from their silvery shells:
Her polish'd brow, it is an ample plain,
To lodge vast contemplations of the main.
Her lips might corals seem, but corals near
Stray through her hair like blossoms on a bower;
And o'er the weaker red still domineer,
And make it pale by tribute to more power;
Her rounded cheeks are of still paler hue,
Touch'd by the bloom of water, tender blue.
Thus he beholds her rocking on the water,
Under the glossy umbrage of her hair,
Like pearly Amphitrite's fairest daughter,
Naiad, or Nereid,—or Syren fair,
Mislodging music in her pitiless breast,
A nightingale within a falcon's nest.
They say there be such maidens in the deep,
Charming poor mariners, that all too near
By mortal lullabies fall dead asleep,
As drowsy men are poison'd through the ear;
Therefore Leander's fears begin to urge,
This snowy swan is come to sing his dirge.
At which he falls into a deadly chill,
And strains his eyes upon her lips apart;
Fearing each breath to feel that prelude shrill,
Pierce through his marrow, like a breath-blown dart
Shot sudden from an Indian's hollow cane,
With mortal venom fraught, and fiery pain.
Here then, poor wretch, how he begins to crowd
A thousand thoughts within a pulse's space;
There seem'd so brief a pause of life allow'd,
His mind stretch'd universal, to embrace
The whole wide world, in an extreme farewell,—
A moment's musing—but an age to tell.
For there stood Hero, widow'd at a glance,
The foreseen sum of many a tedious fact,
Pale cheeks, dim eyes, and wither'd countenance,
A wasted ruin that no wasting lack'd;
Time's tragic consequents ere time began,
A world of sorrow in a tear-drop's span.
A moment's thinking is an hour in words,—
An hour of words is little for some woes;
Too little breathing a long life affords
For love to paint itself by perfect shows;
Then let his love and grief unwrong'd lie dumb,
Whilst Fear, and that it fears, together come.
As when the crew, hard by some jutty cape,
Struck pale and panick'd by the billow's roar,
Lay by all timely measures of escape,
And let their bark go driving on the shore;
So fray'd Leander, drifting to his wreck,
Gazing on Scylla, falls upon her neck.
For he hath all forgot the swimmer's art,
The rower's cunning, and the pilot's skill,
Letting his arms fall down in languid part,
Sway'd by the waves, and nothing by his will,
Till soon he jars against that glossy skin,
Solid like glass, though seemingly as thin.
Lo! how she startles at the warning shock,
And straightway girds him to her radiant breast,
More like his safe smooth harbor than his rock;
Poor wretch, he is so faint and toil-opprest,
He cannot loose him from his grappling foe,
Whether for love or hate, she lets not go.
His eyes are blinded with the sleety brine,
His ears are deafen'd with the wildering noise;
He asks the purpose of her fell design,
But foamy waves choke up his struggling voice;
Under the ponderous sea his body dips,
And Hero's name dies bubbling on his lips.
Look how a man is lower'd to his grave,—
A yearning hollow in the green earth's lap;
So he is sunk into the yawning wave,—
The plunging sea fills up the watery gap;
Anon he is all gone, and nothing seen
But likeness of green turf and hillocks green.
And where he swam, the constant sun lies sleeping,
Over the verdant plain that makes his bed;
And all the noisy waves go freshly leaping.
Like gamesome boys over the churchyard dead;
The light in vain keeps looking for his face:—
Now screaming sea-fowl settle in his place.
Yet weep and watch for him, though all in vain!
Ye moaning billows, seek him as ye wander!
Ye gazing sunbeams, look for him again!
Ye winds, grow hoarse with asking for Leander!
Ye did but spare him for more cruel rape,
Sea-storm and ruin in a female shape!
She says 'tis love hath bribed her to this deed,
The glancing of his eyes did so bewitch her.
O bootless theft! unprofitable meed!
Love's treasury is sack'd, but she no richer;
The sparkles of his eyes are cold and dead,
And all his golden looks are turn'd to lead!
She holds the casket, but her simple hand
Hath spill'd its dearest jewel by the way;
She hath life's empty garment at command,
But her own death lies covert in the prey;
As if a thief should steal a tainted vest,
Some dead man's spoil, and sicken of his pest.
Now she compels him to her deeps below,
Hiding his face beneath her plenteous hair,
Which jealously she shakes all round her brow,
For dread of envy, though no eyes are there
But seals', and all brute tenants of the deep,
Which heedless through the wave their journeys keep.
Down and still downward through the dusky green
She bore him, murmuring with joyous haste
In too rash ignorance, as he had been
Born to the texture of that watery waste;
That which she breathed and sigh'd, the emerald wave,
How could her pleasant home become his grave!
Down and still downward through the dusky green
She bore her treasure, with a face too nigh
To mark how life was alter'd in its mien,
Or how the light grew torpid in his eye,
Or how his pearly breath, unprison'd there,
Flew up to join the universal air.
She could not miss the throbbings of his heart,
Whilst her own pulse so wanton'd in its joy;
She could not guess he struggled to depart,
And when he strove no more, the hapless boy!
She read his mortal stillness for content,
Feeling no fear where only love was meant.
Soon she alights upon her ocean-floor,
And straight unyokes her arms from her fair prize;
Then on his lovely face begins to pore,
As if to glut her soul;—her hungry eyes
Have grown so jealous of her arms' delight;
It seems she hath no other sense but sight.
But O sad marvel! O most bitter strange!
What dismal magic makes his cheek so pale?
Why will he not embrace,—why not exchange
Her kindly kisses;—wherefore not exhale
Some odorous message from life's ruby gates,
Where she his first sweet embassy awaits?
Her eyes, poor watchers, fix'd upon his looks,
Are grappled with a wonder near to grief,
As one, who pores on undecipher'd books,
Strains vain surmise, and dodges with belief;
So she keeps gazing with a mazy thought,
Framing a thousand doubts that end in nought.
Too stern inscription for a page so young,
The dark translation of his look was death!
But death was written in an alien tongue,
And learning was not by to give it breath;
So one deep woe sleeps buried in its seal,
Which Time, untimely, hasteth to reveal.
Meanwhile she sits unconscious of her hap,
Nursing Death's marble effigy, which there
With heavy head lies pillow'd in her lap,
And elbows all unhinged;—his sleeking hair
Creeps o'er her knees, and settles where his hand
Leans with lax fingers crook'd against the sand;
And there lies spread in many an oozy trail,
Like glossy weeds hung from a chalky base,
That shows no whiter than his brow is pale;
So soon the wintry death had bleach'd his face
Into cold marble,—with blue chilly shades,
Showing wherein the freezy blood pervades.
And o'er his steadfast cheek a furrow'd pain
Hath set, and stiffened like a storm in ice,
Showing by drooping lines the deadly strain
Of mortal anguish;—yet you might gaze twice
Ere Death it seem'd, and not his cousin, Sleep,
That through those creviced lids did underpeep.
But all that tender bloom about his eyes,
Is Death's own violets, which his utmost rite
It is to scatter when the red rose dies;
For blue is chilly, and akin to white:
Also he leaves some tinges on his lips,
Which he hath kiss'd with such cold frosty nips.
"Surely," quoth she, "he sleeps, the senseless thing,
Oppress'd and faint with toiling in the stream!"
Therefore she will not mar his rest, but sing
So low, her tune shall mingle with his dream;
Meanwhile, her lily fingers task to twine
His uncrispt locks uncurling in the brine.
"O lovely boy!"—thus she attuned her voice,—
"Welcome, thrice welcome, to a sea-maid's home,
My love-mate thou shalt be, and true heart's choice;
How have I long'd such a twin-self should come,—
A lonely thing, till this sweet chance befell,
My heart kept sighing like a hollow shell."
"Here thou shalt live, beneath this secret dome,
An ocean-bow'r, defended by the shade
Of quiet waters, a cool emerald gloom
To lap thee all about. Nay, be not fray'd,
Those are but shady fishes that sail by
Like antic clouds across my liquid sky!"
"Look how the sunbeam burns upon their scales,
And shows rich glimpses of their Tyrian skins;
They flash small lightnings from their vigorous tails,
And winking stars are kindled at their fins;
These shall divert thee in thy weariest mood,
And seek thy hand for gamesomeness and food."
"Lo! those green pretty leaves with tassel bells,
My flow'rets those, that never pine for drouth;
Myself did plant them in the dappled shells,
That drink the wave with such a rosy mouth,—
Pearls wouldst thou have beside? crystals to shine?
I had such treasures once,—now they are thine."
"Now, lay thine ear against this golden sand,
And thou shalt hear the music of the sea,
Those hollow tunes it plays against the land,—
Is't not a rich and wondrous melody?
I have lain hours, and fancied in its tone
I heard the languages of ages gone!"
"I too can sing when it shall please thy choice,
And breathe soft tunes through a melodious shell,
Though heretofore I have but set my voice
To some long sighs, grief-harmonized, to tell
How desolate I fared;—but this sweet change
Will add new notes of gladness to my range!"
"Or bid me speak, and I will tell thee tales,
Which I have framed out of the noise of waves;
Ere now I have communed with senseless gales,
And held vain colloquies with barren caves;
But I could talk to thee whole days and days,
Only to word my love a thousand ways."
"But if thy lips will bless me with their speech,
Then ope, sweet oracles! and I'll be mute;
I was born ignorant for thee to teach,
Nay all love's lore to thy dear looks impute;
Then ope thine eyes, fair teachers, by whose light
I saw to give away my heart aright!"
But cold and deaf the sullen creature lies
Over her knees, and with concealing clay,
Like hoarding Avarice, locks up his eyes,
And leaves her world impoverish'd of day;
Then at his cruel lips she bends to plead,
But there the door is closed against her need.
Surely he sleeps,—so her false wits infer!
Alas! poor sluggard, ne'er to wake again!
Surely he sleeps, yet without any stir
That might denote a vision in his brain;
Or if he does not sleep, he feigns too long,
Twice she hath reach'd the ending of her song.
Therefore 'tis time she tells him to uncover
Those radiant jesters, and disperse her fears,
Whereby her April face is shaded over,
Like rainy clouds just ripe for showering tears;
Nay, if he will not wake, so poor she gets,
Herself must open those lock'd-up cabinets.
With that she stoops above his brow, and bids
Her busy hands forsake his tangled hair,
And tenderly lift up those coffer-lids,
That she may gaze upon the jewels there,
Like babes that pluck an early bud apart,
To know the dainty color of its heart.
Now, picture one, soft creeping to a bed,
Who slowly parts the fringe-hung canopies,
And then starts back to find the sleeper dead;
So she looks in on his uncover'd eyes,
And seeing all within so drear and dark,
Her own bright soul dies in her like a spark.
Backward she falls, like a pale prophetess,
Under the swoon of holy divination:
And what had all surpass'd her simple guess,
She now resolves in this dark revelation;
Death's very mystery,—oblivious death;—
Long sleep,—deep night, and an entranced breath.
Yet life, though wounded sore, not wholly slain,
Merely obscured, and not extinguish'd, lies;
Her breath that stood at ebb, soon flows again,
Heaving her hollow breast with heavy sighs,
And light comes in and kindles up the gloom,
To light her spirit from its transient tomb.
Then like the sun, awaken'd at new dawn,
With pale bewilder'd face she peers about,
And spies blurr'd images obscurely drawn,
Uncertain shadows in a haze of doubt;
But her true grief grows shapely by degrees,—
A perish'd creature lying on her knees.
And now she knows how that old Murther preys,
Whose quarry on her lap lies newly slain:
How he roams all abroad and grimly slays,
Like a lean tiger in Love's own domain;
Parting fond mates,—and oft in flowery lawns
Bereaves mild mothers of their milky fawns.
O too dear knowledge! O pernicious earning!
Foul curse engraven upon beauty's page!
Ev'n now the sorrow of that deadly learning
Ploughs up her brow, like an untimely age,
And on her cheek stamps verdict of death's truth
By canker blights upon the bud of youth!
For as unwholesome winds decay the leaf,
So her cheeks' rose is perish'd by her sighs,
And withers in the sickly breath of grief;
Whilst unacquainted rheum bedims her eyes,
Tears, virgin tears, the first that ever leapt
From those young lids, now plentifully wept.
Whence being shed, the liquid crystalline
Drops straightway down, refusing to partake
In gross admixture with the baser brine,
But shrinks and hardens into pearls opaque,
Hereafter to be worn on arms and ears;
So one maid's trophy is another's tears!
"O foul Arch-Shadow, thou old cloud of Night,"
(Thus in her frenzy she began to wail,)
"Thou blank Oblivion—blotter-out of light,
Life's ruthless murderer, and dear love's bale!
Why hast thou left thy havoc incomplete,
Leaving me here, and slaying the more sweet?"
"Lo! what a lovely ruin thou hast made!
Alas! alas! thou hast no eye to see,
And blindly slew'st him in misguided shade.
Would I had lent my doting sense to thee!
But now I turn to thee, a willing mark,
Thine arrows miss me in the aimless dark!"
"O doubly cruel!—twice misdoing spite,
But I will guide thee with my helping eyes,
Or—walk the wide world through, devoid of sight,—
Yet thou shalt know me by my many sighs.
Nay, then thou should'st have spared my roses, false Death,
And known Love's flow'r by smelling his sweet breath;"
"Or, when thy furious rage was round him dealing,
Love should have grown from touching of his skin;
But like cold marble thou art all unfeeling.
And hast no ruddy springs of warmth within,
And being but a shape of freezing bone,
Thy touching only turn'd my love to stone!"
"And here, alas! he lies across my knees,
With cheeks still colder than the stilly wave.
The light beneath his eyelids seems to freeze;
Here then, since Love is dead and lacks a grave,
O come and dig it in my sad heart's core—
That wound will bring a balsam for its sore!"
"For art thou not a sleep where sense of ill
Lies stingless, like a sense benumb'd with cold,
Healing all hurts only with sleep's good-will?
So shall I slumber, and perchance behold
My living love in dreams,—O happy night,
That lets me company his banish'd spright!"
"O poppy Death!—sweet poisoner of sleep;
Where shall I seek for thee, oblivious drug,
That I may steep thee in my drink, and creep
Out of life's coil? Look, Idol! how I hug
Thy dainty image in this strict embrace,
And kiss this clay-cold model of thy face!"
"Put out, put out these sun-consuming lamps,
I do but read my sorrows by their shine;
O come and quench them with thy oozy damps,
And let my darkness intermix with thine;
Since love is blinded, wherefore should I see?
Now love is death,—death will be love to me!"
"Away, away, this vain complaining breath,
It does but stir the troubles that I weep;
Let it be hush'd and quieted, sweet Death;
The wind must settle ere the wave can sleep,—
Since love is silent, I would fain be mute;
O death, be gracious to my dying suit!"
Thus far she pleads, but pleading nought avails her,
For Death, her sullen burthen, deigns no heed;
Then with dumb craving arms, since darkness fails her,
She prays to heaven's fair light, as if her need
Inspired her there were Gods to pity pain,
Or end it,—but she lifts her arms in vain!
Poor gilded Grief! the subtle light by this
With mazy gold creeps through her watery mine,
And, diving downward through the green abyss,
Lights up her palace with an amber shine;
There, falling on her arms,—the crystal skin
Reveals the ruby tide that fares within.
Look how the fulsome beam would hang a glory
On her dark hair, but the dark hairs repel it;
Look how the perjured glow suborns a story
On her pale lips, but lips refuse to tell it;
Grief will not swerve from grief, however told
On coral lips, or character'd in gold;
Or else, thou maid! safe anchor'd on Love's neck,
Listing the hapless doom of young Leander,
Thou would'st not shed a tear for that old wreck,
Sitting secure where no wild surges wander;
Whereas the woe moves on with tragic pace,
And shows its sad reflection in thy face.
Thus having travell'd on, and track'd the tale,
Like the due course of an old bas-relief,
Where Tragedy pursues her progress pale,
Brood here awhile upon that sea-maid's grief,
And take a deeper imprint from the frieze
Of that young Fate, with Death upon her knees.
Then whilst the melancholy Muse withal
Resumes her music in a sadder tone,
Meanwhile the sunbeam strikes upon the wall,
Conceive that lovely siren to live on,
Ev'n as Hope whisper'd, the Promethean light
Would kindle up the dead Leander's spright.
"'Tis light," she says, "that feeds the glittering stars,
And those were stars set in his heavenly brow;
But this salt cloud, this cold sea-vapor, mars
Their radiant breathing, and obscures them now;
Therefore I'll lay him in the clear blue air,
And see how these dull orbs will kindle there."
Swiftly as dolphins glide, or swifter yet,
With dead Leander in her fond arms' fold,
She cleaves the meshes of that radiant net
The sun hath twined above of liquid gold,
Nor slacks till on the margin of the land
She lays his body on the glowing sand.
There, like a pearly waif, just past the reach
Of foamy billows he lies cast. Just then,
Some listless fishers, straying down the beach,
Spy out this wonder. Thence the curious men,
Low crouching, creep into a thicket brake,
And watch her doings till their rude hearts ache.
First she begins to chafe him till she faints,
Then falls upon his mouth with kisses many,
And sometimes pauses in her own complaints
To list his breathing, but there is not any,—
Then looks into his eyes where no light dwells;
Light makes no pictures in such muddy wells.
The hot sun parches his discover'd eyes,
The hot sun beats on his discolor'd limbs,
The sand is oozy whereupon he lies,
Soiling his fairness;—then away she swims,
Meaning to gather him a daintier bed,
Plucking the cool fresh weeds, brown, green, and red.
But, simple-witted thief, while she dives under,
Another robs her of her amorous theft;
The ambush'd fishermen creep forth to plunder,
And steal the unwatch'd treasure she has left;
Only his void impression dints the sands;
Leander is purloin'd by stealthy hands!
Lo! how she shudders off the beaded wave,
Like Grief all over tears, and senseless falls,—
His void imprint seems hollow'd for her grave;
Then, rising on her knees, looks round and calls
On "Hero! Hero!" having learn'd this name
Of his last breath, she calls him by the same.
Then with her frantic hands she rends her hairs,
And casts them forth, sad keepsakes to the wind,
As if in plucking those she plucked her cares;
But grief lies deeper, and remains behind
Like a barb'd arrow, rankling in her brain,
Turning her very thoughts to throbs of pain.
Anon her tangled locks are left alone,
And down upon the sand she meekly sits,
Hard by the foam, as humble as a stone,
Like an enchanted maid beside her wits,
That ponders with a look serene and tragic,
Stunn'd by the mighty mystery of magic.
Or think of Ariadne's utter trance,
Crazed by the flight of that disloyal traitor,
Who left her gazing on the green expanse
That swallowed up his track,—yet this would mate her,
Ev'n in the cloudy summit of her woe,
When o'er the far sea-brim she saw him go.
For even so she bows, and bends her gaze
O'er the eternal waste, as if to sum
Its waves by weary thousands all her days,
Dismally doom'd! meanwhile the billows come,
And coldly dabble with her quiet feet,
Like any bleaching stones they wont to greet.
And thence into her lap have boldly sprung,
Washing her weedy tresses to and fro,
That round her crouching knees have darkly hung;
But she sits careless of waves' ebb and flow,
Like a lone beacon on a desert coast,
Showing where all her hope was wreck'd and lost.
Yet whether in the sea or vaulted sky,
She knoweth not her lover's abrupt resort,
So like a shape of dreams he left her eye,
Winking with doubt. Meanwhile, the churls' report
Has throng'd the beach with many a curious face,
That peeps upon her from its hiding place.
And here a head, and there a brow half seen,
Dodges behind a rock. Here on his hands
A mariner his crumpled cheeks doth lean
Over a rugged crest. Another stands,
Holding his harmful arrow at the head,
Still check'd by human caution and strange dread.
One stops his ears,—another close beholder
Whispers unto the next his grave surmise;
This crouches down,—and just above his shoulder,
A woman's pity saddens in her eyes,
And prompts her to befriend that lonely grief,
With all sweet helps of sisterly relief.
And down the sunny beach she paces slowly,
With many doubtful pauses by the way;
Grief hath an influence so hush'd and holy,—
Making her twice attempt, ere she can lay
Her hand upon that sea-maid's shoulder white,
Which makes her startle up in wild affright.
And, like a seal, she leaps into the wave
That drowns the shrill remainder of her scream;
Anon the sea fills up the watery cave,
And seals her exit with a foamy seam,—
Leaving those baffled gazers on the beach,
Turning in uncouth wonder each to each.
Some watch, some call, some see her head emerge,
Wherever a brown weed falls through the foam;
Some point to white eruptions of the surge:—
But she is vanish'd to her shady home,
Under the deep, inscrutable,—and there
Weeps in a midnight made of her own hair.
Now here, the sighing winds, before unheard,
Forth from their cloudy caves begin to blow,
Till all the surface of the deep is stirr'd,
Like to the panting grief it hides below;
And heaven is cover'd with a stormy rack,
Soiling the waters with its inky black.
The screaming fowl resigns her finny prey,
And labors shoreward with a bending wing,
Rowing against the wind her toilsome way;
Meanwhile, the curling billows chafe, and fling
Their dewy frost still further on the stones,
That answer to the wind with hollow groans.
And here and there a fisher's far-off bark
Flies with the sun's last glimpse upon its sail,
Like a bright flame amid the waters dark,
Watch'd with the hope and fear of maidens pale;
And anxious mothers that upturn their brows,
Freighting the gusty wind with frequent vows,
For that the horrid deep has no sure path
To guide Love safe into his homely haven.
And lo! the storm grows blacker in its wrath,
O'er the dark billow brooding like a raven,
That bodes of death and widow's sorrowing,
Under the dusky covert of his wing.
And so day ended. But no vesper spark
Hung forth its heavenly sign; but sheets of flame
Play'd round the savage features of the dark,
Making night horrible. That night, there came
A weeping maiden to high Sestos' steep,
And tore her hair and gazed upon the deep.
And waved aloft her bright and ruddy torch,
Whose flame the boastful wind so rudely fann'd,
That oft it would recoil, and basely scorch
The tender covert of her sheltering hand;
Which yet, for Love's dear sake, disdain'd retire,
And, like a glorying martyr, braved the fire.
For that was love's own sign and beacon guide
Across the Hellespont's wide weary space,
Wherein he nightly struggled with the tide:—
Look what a red it forges on her face,
As if she blush'd at holding sucha light,
Ev'n in the unseen presence of the night!
Whereas her tragic cheek is truly pale,
And colder than the rude and ruffian air
That howls into her ear a horrid tale
Of storm and wreck, and uttermost despair,
Saying, "Leander floats amid the surge,
And those are dismal waves that sing his dirge."
And hark!—a grieving voice, trembling and faint,
Blends with the hollow sobbings of the sea;
Like the sad music of a siren's plaint,
But shriller than Leander's voice should be,
Unless the wintry death had changed its tone,—
Wherefore she thinks she hears his spirit moan.
For now, upon each brief and breathless pause,
Made by the raging winds, it plainly calls
On "Hero! Hero!"—whereupon she draws
Close to the dizzy brink, that ne'er appals
Her brave and constant spirit to recoil,
However the wild billows toss and toil.
"Oh! dost thou live under the deep deep sea?
I thought such love as thine could never die;
If thou hast gain'd an immortality
From the kind pitying sea-god, so will I;
And this false cruel tide that used to sever
Our hearts, shall be our common home forever!"
"There we will sit and sport upon one billow,
And sing our ocean ditties all the day,
And lie together on the same green pillow,
That curls above us with its dewy spray;
And ever in one presence live and dwell,
Like two twin pearls within the selfsame shell!"
One moment then, upon the dizzy verge
She stands;—with face upturn'd against the sky;
A moment more, upon the foamy surge
She gazes, with a calm despairing eye;
Feeling that awful pause of blood and breath,
Which life endures when it confronts with death;—
Then from the giddy steep she madly springs,
Grasping her maiden robes, that vainly kept
Panting abroad, like unavailing wings,
To save her from her death.—The sea-maid wept
And in a crystal cave her corse enshrined;
No meaner sepulchre should Hero find!
