Chapter XXVI: Introduction (11)

“O Cæsar, we who are about to die
Salute you!” was the gladiators’ cry
In the arena, standing face to face
With death and with the Roman populace.
O ye familiar scenes—ye groves of pine,
That once were mine and are no longer mine,—
Thou river, widening through the meadows green
To the vast sea, so near and yet unseen,—
Ye halls, in whose seclusion and repose
Phantoms of fame, like exhalations, rose
And vanished,—we who are about to die
Salute you; earth and air and sea and sky,
And the Imperial Sun that scatters down
His sovereign splendours upon grove and town.
Ye do not answer us! ye do not hear!
We are forgotten; and in your austere
And calm indifference, ye little care
Whether we come or go, or whence or where.
What passing generations fill these halls,
What passing voices echo from these walls,
Ye heed not; we are only as the blast,
A moment heard, and then for ever past.
Not so the teachers who in earlier days
Led our bewildered feet through learning’s maze;
They answer us—alas! what have I said?
What greetings come there from the voiceless dead?
What salutation, welcome, or reply?
What pressure from the hands that lifeless lie?
They are no longer here; they all are gone
Into the land of shadows—all save one.
Honour and reverence, and the good repute
That follows faithful service as its fruit,
Be unto him, whom living we salute.
The great Italian poet, when he made
His dreadful journey to the realms of shade,
Met there the old instructor of his youth,
And cried in tones of pity and of ruth:
“O never from the memory of my heart
Your dear paternal image shall depart,
Who while on earth, ere yet by death surprised
Taught me how mortals are immortalized;
How grateful am I for that patient care,
All my life long my language shall declare.”
To-day we make the poet’s words our own,
And utter them in plaintive undertone;
Nor to the living only be they said,
But to the other living, called the dead,
Whose dear, paternal images appear,
Not wrapped in gloom, but robed in sunshine here;
Whose simple lives, complete and without flaw,
Were part and parcel of great Nature’s law;
Who said not to their Lord, as if afraid,
“Here is thy talent in a napkin laid,”
But laboured in their sphere, as those who live
In the delight that work alone can give.
Peace be to them; eternal peace and rest,
And the fulfilment of the great behest:
“Ye have been faithful over a few things,
Over ten cities shall ye reign as kings.”
And ye who fill the places we once filled,
And follow in the furrows that we tilled,
Young men, whose generous hearts are beating high,
We who are old, and are about to die,
Salute you; hail you; take your hands in ours,
And crown you with our welcome as with flowers!
How beautiful is youth! how bright it gleams
With its illusions, aspirations, dreams!
Book of Beginnings, Story without End,
Each maid a heroine, and each man a friend!
Aladdin’s Lamp, and Fortunatus’ Purse
That holds the treasure of the universe!
All possibilities are in its hands,
No danger daunts it, and no foe withstands;
In its sublime audacity of faith,
“Be thou removed!” it to the mountain saith
And with ambitious feet, secure and proud,
Ascends the ladder leaning on the cloud!
As ancient Priam at the Scæan gate
Sat on the walls of Troy in regal state
With the old men, too old and weak to fight,
Chirping like grasshoppers in their delight
To see the embattled hosts, with spear and shield,
Of Trojans and Achaians in the field;
So from the snowy summits of our years
We see you in the plain, as each appears,
And question of you; asking, “Who is he
That towers above the others? Which may be
Atreides, Menelaus, Odysseus,
Ajax the great, or bold Idomeneus?”
Let him not boast who puts his armour on
As he who puts it off, the battle done.
Study yourselves; and most of all note well
Wherein kind Nature meant you to excel.
Not every blossom ripens into fruit;
Minerva, the inventress of the flute,
Flung it aside, when she her face surveyed
Distorted in a fountain as she played;
The unlucky Marsyas found it, and his fate
Was one to make the bravest hesitate.
Write on your doors the saying wise and old,
“Be bold! be bold! and everywhere be bold;
Be not too bold!” Yet better the excess
Than the defect; better the more than less;
Better like Hector in the field to die,
Than like the perfumed Paris turn and fly.
And now, my classmates; ye remaining few
That number not the half of those we knew;
Ye, against whose familiar names not yet
The fatal asterisk of death is set,
Ye I salute! The horologe of Time
Strikes the half-century with a solemn chime,
And summons us together once again,
The joy of meeting not unmixed with pain.
Where are the others? Voices from the deep
Caverns of darkness answer me: “They sleep!”
I name no names; instinctively I feel
Each at some well-remembered grave will kneel,
And from the inscription wipe the weeds and moss,
For every heart best knoweth its own loss.
I see the scattered grave-stones gleaming white
Through the pale dusk of the impending night.
O’er all alike the impartial sunset throws
Its golden lilies mingled with the rose;
We give to all a tender thought, and pass
Out of the grave-yards with their tangled grass,
Unto these scenes frequented by our feet
When we were young, and life was fresh and sweet.
What shall I say to you? What can I say
Better than silence is? When I survey
This throng of faces turned to meet my own,
Friendly and fair, and yet to me unknown,
Transformed the very landscape seems to be;
It is the same, yet not the same to me.
So many memories crowd upon my brain,
So many ghosts are in the wooded plain,
I fain would steal away with noiseless tread
As from a house where some one lieth dead.
I cannot go;—I pause;—I hesitate;
My feet reluctant linger at the gate;
As one who struggles in a troubled dream
To speak and cannot, to myself I seem.
Vanish the dream! Vanish the idle fears!
Vanish the rolling mists of fifty years!
Whatever time or space may intervene,
I will not be a stranger in this scene.
Here every doubt, all indecision ends;
Hail, my companions, comrades, classmates, friends!
Ah me! the fifty years since last we met
Seem to me fifty folios bound and set
By Time, the great transcriber, on his shelves,
Wherein are written the histories of ourselves.
What tragedies, what comedies, are there;
What joy and grief, what rapture and despair!
What chronicles of triumph and defeat,
Of struggle, and temptation, and retreat!
What records of regrets, and doubts, and fears!
What pages blotted, blistered by our tears!
What lovely landscapes on the margin shine,
What sweet, angelic faces, what divine
And holy images of love and trust,
Undimmed by age, unsoiled by damp or dust!
Whose hand shall dare to open and explore
These volumes, closed and clasped for evermore
Not mine. With reverential feet I pass;
I hear a voice that cries, “Alas! alas!
Whatever hath been written shall remain,
Nor be erased nor written o’er again;
The unwritten only still belongs to thee,
Take heed, and ponder well what that shall be.”
As children frightened by a thunder-cloud
Are reassured if some one reads aloud
A tale of wonder, with enchantment fraught,
Or wild adventure, that diverts their thought,
Let me endeavour with a tale to chase
The gathering shadows of the time and place,
And banish what we all too deeply feel
Wholly to say, or wholly to conceal.
In mediæval Rome, I know not where,
There stood an image with its arm in air,
And on its lifted finger, shining clear,
A golden ring with the device, “Strike here!”
Greatly the people wondered, though none guessed
The meaning that these words but half expressed,
Until a learnèd clerk, who at noonday
With downcast eyes was passing on his way,
Paused, and observed the spot, and marked it well,
Whereon the shadow of the finger fell;
And, coming back at midnight, delved, and found
A secret stairway leading underground.
Down this he passed into a spacious hall,
Lit by a flaming jewel on the wall;
And opposite a brazen statue stood
With bow and shaft in threatening attitude;
Upon its forehead, like a coronet,
Were these mysterious words of menace set:
“That which I am, I am; my fatal aim
None can escape, not even yon luminous flame!”
Midway the hall was a fair table placed,
With cloth of gold, and golden cups enchased
With rubies, and the plates and knives were gold,
And gold the bread and viands manifold.
Around it, silent, motionless, and sad,
Were seated gallant knights in armour clad,
And ladies beautiful with plume and zone,
But they were stone, their hearts within were stone;
And the vast hall was filled in every part
With silent crowds, stony in face and heart.
Long at the scene, bewildered and amazed,
The trembling clerk in speechless wonder gazed;
Then from the table, by his greed made bold,
He seized a goblet and a knife of gold,
And suddenly from their seats the guests upsprang,
The vaulted ceiling with loud clamours rang,
The archer sped his arrow, at their call,
Shattering the lambent jewel on the wall,
And all was dark around and overhead;—
Stark on the floor the luckless clerk lay dead!
The writer of this legend then records
Its ghostly application in these words:
The image is the Adversary old,
Whose beckoning finger points to realms of gold;
Our lusts and passions are the downward stair
That leads the soul from a diviner air;
The archer, Death; the flaming jewel, Life!
Terrestrial goods, the goblet and the knife;
The knights and ladies, all whose flesh and bone
By avarice have been hardened into stone;
The clerk, the scholar whom the love of pelf
Tempts from his books and from his nobler self.
The scholar and the world! The endless strife,
The discord in the harmonies of life!
The love of learning, the sequestered nooks,
And all the sweet serenity of books;
The market-place, the eager love of gain,
Whose aim is vanity, and whose end is pain.
But why, you ask me, should this tale be told
To men grown old, or who are growing old?
It is too late! Ah, nothing is too late
Till the tired heart shall cease to palpitate.
Cato learned Greek at eighty; Sophocles
Wrote his grand Œdipus, and Simonides
Bore off the prize of verse from his compeers,
When each had numbered more than fourscore years;
And Theophrastus, at fourscore and ten,
Had but begun his Characters of Men.
Chaucer, at Woodstock with the nightingales,
At sixty wrote the Canterbury Tales;
Goethe, at Weimar, toiling to the last,
Completed Faust when eighty years were past.
These are, indeed, exceptions; but they show
How far the gulf-stream of our youth may flow
Into the Arctic regions of our lives,
Where little else than life itself survives.
As the barometer foretells the storm
While still the skies are clear, the weather warm,
So something in us, as old age draws near,
Betrays the pressure of the atmosphere.
The nimble mercury, ere we are aware,
Descends the elastic ladder of the air;
The tell-tale blood in artery and vein
Sinks from its higher levels in the brain;
Whatever poet, orator, or sage
May say of it, old age is still old age.
It is the waning, not the crescent moon;
The dusk of evening, not the blaze of noon:
It is not strength, but weakness; not desire,
But its surcease; not the fierce heat of fire,
The burning and consuming element,
But that of ashes and of embers spent,
In which some living sparks we still discern,
Enough to warm, but not enough to burn.
What then? Shall we sit idly down and say
The night hath come; it is no longer day?
The night hath not yet come; we are not quite
Cut off from labour by the failing light;
Something remains for us to do or dare;
Even the oldest tree some fruit may bear;
Not Œdipus Coloneus, or Greek Ode,
Or tales of pilgrims that one morning rode
Out of the gateway of the Tabard Inn,
But other something, would we but begin;
For age is opportunity no less
Than youth itself, though in another dress,
And as the evening twilight fades away
The sky is filled with stars, invisible by day.

_Kéramos._

1878.

_Turn, turn, my wheel! Turn round and round
Without a pause, without a sound:
So spins the flying world, away!
This clay, well mixed with marl and sand,
Follows the motion of my hand;
For some must follow, and some command,
Though all are made of clay!_

Thus sang the Potter at his task
Beneath the blossoming hawthorn-tree,
While o’er his features, like a mask,
The quilted sunshine and leaf-shade
Moved, as the boughs above him swayed,
And clothed him, till he seemed to be
A figure woven in tapestry,
So sumptuously was he arrayed
In that magnificent attire
Of sable tissue flaked with fire.
Like a magician he appeared,
A conjurer without book or beard;
And while he plied his magic art—
For it was magical to me—
I stood in silence and apart,
And wondered more and more to see
That shapeless, lifeless mass of clay
Rise up to meet the master’s hand,
And now contract and now expand,
And even his slightest touch obey;
While ever in a thoughtful mood
He sang his ditty, and at times
Whistled a tune between the rhymes,
As a melodious interlude.

_Turn, turn, my wheel! All things must change
To something new, to something strange;
Nothing that is can pause or stay;
The moon will wax, the moon will wane,
The mist and cloud will turn to rain,
The rain to mist and cloud again,
To-morrow be to-day._

Thus still the Potter sang, and still,
By some unconscious act of will,
The melody and even the words
Were intermingled with my thought,
As bits of coloured thread are caught
And woven into nests of birds.
And thus to regions far remote,
Beyond the ocean’s vast expanse,
This wizard in the motley coat
Transported me on wings of song,
And by the northern shores of France
Bore me with restless speed along.
What land is this that seems to be
A mingling of the land and sea?
This land of sluices, dikes, and dunes?
This water-net, that tesselates
The landscape? this unending maze
Of gardens, through whose latticed gates
The imprisoned pinks and tulips gaze;
Where in long summer afternoons
The sunshine, softened by the haze,
Comes streaming down as through a screen;
Where over fields and pastures green
The painted ships float high in air,
And over all and everywhere
The sails of windmills sink and soar
Like wings of sea-gulls on the shore?

What land is this? Yon pretty town
Is Delft, with all its wares displayed;
The pride, the market-place, the crown
And centre of the Potter’s trade.
See! every house and room is bright
With glimmers of reflected light
From plates that on the dresser shine;
Flagons to foam with Flemish beer,
Or sparkle with the Rhenish wine,
And pilgrim flasks with fleur-de-lis,
And ships upon a rolling sea,
And tankards pewter topped, and queer
With comic mask and musketeer!
Each hospitable chimney smiles
A welcome from its painted tiles;
The parlour walls, the chamber floors,
The stairways and the corridors,
The borders of the garden walks,
Are beautiful with fadeless flowers,
That never droop in winds or showers,
And never wither on their stalks.

_Turn, turn, my wheel! All life is brief;
What now is bud will soon be leaf,
What now is leaf will soon decay;
The wind blows east, the wind blows west;
The blue eggs in the robin’s nest
Will soon have wings and beak and breast,
And flutter and fly away._

Now southward through the air I glide,
The song my only pursuivant,
And see across the landscape wide
The blue Charente, upon whose tide
The belfries and the spires of Saintes
Ripple and rock from side to side,
As, when an earthquake rends its walls,
A crumbling city reels and falls.

Who is it in the suburbs here,
This Potter, working with such cheer,
In this mean house, this mean attire,
His manly features bronzed with fire,
Whose figulines and rustic wares
Scarce find him bread from day to day?
This madman, as the people say,
Who breaks his tables and his chairs
To feed his furnace fires, nor cares
Who goes unfed if they are fed,
Nor who may live if they are dead?
This alchemist with hollow cheeks
And sunken, searching eyes, who seeks,
By mingled earths and ores combined
With potency of fire, to find
Some new enamel, hard and bright,
His dream, his passion, his delight?

O Palissy! within thy breast
I tamed the hot fever of unrest;
Thine was the prophet’s vision, thine
The exultation, the divine
Insanity of noble minds,
That never falters nor abates,
But labours and endures and waits,
Till all that it foresees it finds,
Or what it cannot find creates!

_Turn, turn, my wheel! This earthen jar
A touch can make, a touch can mar;
And shall it to the Potter say,
What makest thou? Thou hast no hand?
As men who think to understand
A world by their Creator planned,
Who wiser is than they._

Still guided by the dreamy song,
As in a trance I float along
Above the Pyrenean chain,
Above the fields and farms of Spain,
Above the bright Majorcan isle,
That lends its softened name to art,—
A spot, a dot upon the chart,
Whose little towns, red-roofed with tile,
Are ruby-lustred with the light
Of blazing furnaces by night,
And crowned by day with wreaths of smoke.
Then eastward, wafted in my flight
On my enchanter’s magic cloak,
I sail across the Tyrrhene Sea
Into the land of Italy,
And o’er the windy Apennines,
Mantled and musical with pines.

The palaces, the princely halls,
The doors of houses, and the walls
Of churches and of belfry towers,
Cloister and castle, street and mart,
Are garlanded and gay with flowers
That blossom in the fields of art.
Here Gubbio’s workshops gleam and glow
With brilliant, iridescent dyes,
The dazzling whiteness of the snow,
The cobalt blue of summer skies;
And vase, and scutcheon, cup and plate,
In perfect finish emulate
Faenza, Florence, Pesaro.

Forth from Urbino’s gate there came
A youth with the angelic name
Of Raphael, in form and face
Himself angelic, and divine
In arts of colour and design.
From him Francesco Xanto caught
Something of his transcendent grace,
And into fictile fabrics wrought
Suggestions of the master’s thought.
Nor less Maestro Giorgio shines
With madre-perl and golden lines
Of arabesques, and interweaves
His birds and fruits and flowers and leaves
About some landscape, shaded brown,
With olive tints on rock and town.

Behold this cup within whose bowl,
Upon a ground of deepest blue
With yellow-lustred stars o’erlaid,
Colours of every tint and hue
Mingle in one harmonious whole!
With large blue eyes and steadfast gaze,
Her yellow hair in net and braid,
Necklace and ear-rings all ablaze
With golden lustre o’er the glaze,
A woman’s portrait; on the scroll,
Cana, the beautiful! A name
Forgotten save for such brief fame
As this memorial can bestow,—
A gift some lover long ago
Gave with his heart to this fair dame.

A nobler title to renown
Is thine, O pleasant Tuscan town,
Seated beside the Arno’s stream;
For Lucca della Robbia there
Created forms so wondrous fair,
They made thy sovereignty supreme.
These choristers with lips of stone,
Whose music is not heard, but seen,
Still chant, as from their organ-screen,
Their Maker’s praise; nor these alone,
But the more fragile forms of clay,
Hardly less beautiful than they.
These saints and angels that adorn
The walls of hospitals, and tell
The story of good deeds so well,
That poverty seems less forlorn,
And life more like a holiday.

Here in this old neglected church,
That long eludes the traveller’s search,
Lies the dead bishop on his tomb;
Earth upon earth he slumbering lies,
Life-like and death-like in the gloom;
Garlands of fruit and flowers in bloom
And foliage deck his resting-place;
A shadow in the sightless eyes,
A pallor on the patient face,
Made perfect by the furnace heat;
All earthly passions and desires
Burnt out by purgatorial fires;
Seeming to say, “Our years are fleet,
And to the weary death is sweet.”

But the most wonderful of all
The ornaments on tomb or wall
That grace the fair Ausonian shores
Are those the faithful earth restores,
Near some Apulian town concealed,
In vineyard or in harvest field,—
Vases and urns and bas-reliefs,
Memorials of forgotten griefs,
Or records of heroic deeds
Of demigods and mighty chiefs:
Figures that almost move and speak,
And, buried amid mould and weeds,
Still in their attitudes attest
The presence of the graceful Greek,—
Achilles in his armour dressed,
Alcides with the Cretan bull,
Aphrodite with her boy,
Or lovely Helena of Troy,
Still living and still beautiful.

_Turn, turn, my wheel! ’Tis nature’s plan
The child should grow into the man,
The man grow wrinkled, old, and grey;
In youth the heart exults and sings,
The pulses leap, the feet have wings;
In age the cricket chirps, and brings
The harvest home of day._
And now the winds that southward blow
And cool the hot Sicilian isle,
Bear me away. I see below
The long line of the Libyan Nile,
Flooding and feeding the parched lands
With annual ebb and overflow,
A fallen palm whose branches lie
Beneath the Abyssinian sky,
Whose roots are in Egyptian sands.
On either bank huge water-wheels,
Belted with jars and dripping weeds,
Send forth their melancholy moans,
As if, in their grey mantles hid,
Dead anchorites of the Thebaid
Knelt on the shore and told their beads,
Beating their breasts with loud appeals
And penitential tears and groans.

This city, walled and thickly set
With glittering mosque and minaret,
Is Cairo, in whose gay bazaars
The dreaming traveller first inhales
The perfume of Arabian gales,
And sees the fabulous earthen jars,
Huge as were those wherein the maid
Morgiana found the Forty Thieves
Concealed in midnight ambuscade;
And seeing, more than half believes
The fascinating tales that run
Through all the Thousand Nights and One,
Told by the fair Scheherezade.

More strange and wonderful than these
Are the Egyptian deities,
Ammon, and Emoth, and the grand
Osiris, holding in his hand
The lotus; Isis, crowned and veiled;
The sacred Ibis, and the Sphinx;
Bracelets with blue enamelled links;
The Scarabee in emerald mailed,
Or spreading wide his funeral wings;
Lamps that perchance their night-watch kept
O’er Cleopatra where she slept,—
All plundered from the tombs of kings.

_Turn, turn, my wheel! The human race,
Of every tongue, of every place,
Caucasian, Coptic, or Malay,
All that inhabit this great earth,
Whatever be their rank or worth,
Are kindred and allied by birth,
And made of the same clay._

O’er desert sands, o’er gulf and bay,
O’er Ganges and o’er Himalay,
Bird-like I fly, and flying sing,
To flowery kingdoms of Cathay,
And bird-like poise on balanced wing
Above the town of King-te-tching,
A burning town, or seeming so,—
Three thousand furnaces that glow
Incessantly, and fill the air
With smoke uprising, gyre on gyre,
And painted by the lurid glare
Of jets and flashes of red fire.

As leaves that in the autumn fall,
Spotted and veined with various hues,
Are swept along the avenues,
And lie in heaps by hedge and wall,
So from this grove of chimneys whirled
To all the markets of the world,
These porcelain leaves are wafted on,—
Light yellow leaves with spots and stains
Of violet and of crimson dye,
Or tender azure of a sky
Just washed by gentle April rains,
And beautiful with celadon.

Nor less the coarser household wares,—
The willow pattern, that we knew
In childhood, with its bridge of blue
Leading to unknown thoroughfares;
The solitary man who stares
At the white river flowing through
Its arches, the fantastic trees
And wild perspective of the view;
And intermingled among these
The tiles that in our nurseries
Filled us with wonder and delight,
Or haunted us in dreams at night.

And yonder by Nankin, behold!
The Tower of Porcelain, strange and old,
Uplifting to the astonished skies
Its ninefold painted balconies,
With balustrades of twining leaves,
And roofs of tile, beneath whose eaves
Hang porcelain bells that all the time
Ring with a soft, melodious chime;
While the whole fabric is ablaze
With varied tints, all fused in one
Great mass of colour, like a maze
Of flowers illumined by the sun.

_Turn, turn, my wheel! What is begun
At daybreak must at dark be done,
To-morrow will be another day,
To-morrow the hot furnace flame
Will search the heart and try the frame,
And stamp with honour or with shame
These vessels made of clay._

Cradled and rocked in Eastern seas
The islands of the Japanese
Beneath me lie; o’er lake and plain
The stork, the heron, and the crane
Through the clear realms of azure drift,
And on the hill-side I can see
The villages of Imari,
Whose thronged and flaming workshops lift
Their twisted columns of smoke on high,
Cloud cloisters that in ruins lie,
With sunshine streaming through each rift,
And broken arches of blue sky.

All the bright flowers that fill the land,
Ripple of waves on rock or sand,
The snow on Fusiyama’s cone.
The midnight heaven so thickly sown
With constellations of bright stars,
The leaves that rustle, the reeds that make
A whisper by each stream and lake,
The saffron dawn, the sunset red,
Are painted on these lovely jars;
Again the skylark sings, again
The stork, the heron, and the crane
Float through the azure overhead,
The counterfeit and counterpart
Of Nature reproduced in Art.

Art is the child of Nature; yes,
Her darling child, in whom we trace
The features of the mother’s face,
Her aspect and her attitude,
All her majestic loveliness
Chastened and softened and subdued
Into a more attractive grace,
And with a human sense imbued.
He is the greatest artist, then,
Whether of pencil or of pen,
Who follows Nature. Never man,
As artist or as artisan,
Pursuing his own fantasies,
Can touch the human heart, or please,
Or satisfy our nobler needs,
As he who sets his willing feet,
In Nature’s footprints, light and fleet,
And follows fearless where she leads.

Thus mused I on that morn in May,
Wrapped in my visions like the Seer,
Whose eyes behold not what is near,
But only what is far away,
When, suddenly sounding peal on peal,
The church-bell from the neighbouring town
Proclaimed the welcome hour of noon.
The Potter heard, and stopped his wheel,
His apron on the grass threw down,
Whistled his quiet little tune,
Not overloud nor overlong,
And ended thus his simple song:

_Stop, stop, my wheel! Too soon, too soon
The noon will be the afternoon,
Too soon to-day be yesterday;
Behind us in our path we cast
The broken potsherds of the past,
And all are ground to dust at last,
And trodden into clay!_

_Birds of passage._

1858 TO 1880.

FLIGHT THE FIRST.

... come i gru van cantando lor lai,
Facendo in aer di sè lunga riga.
DANTE.

PROMETHEUS;

OR, THE POET’S FORETHOUGHT.

Of Prometheus, how undaunted
On Olympus’ shining bastions
His audacious foot he planted,
Myths are told and songs are chanted,
Full of promptings and suggestions.

Beautiful is the tradition
Of that flight through heavenly portals,
The old classic superstition
Of the theft and the transmission
Of the fire of the Immortals!

First the deed of noble daring,
Born of heavenward aspiration,
Then the fire with mortals sharing,
Then the vulture,—the despairing
Cry of pain on crags Caucasian.

All is but a symbol painted
Of the Poet, Prophet, Seer;
Only those are crowned and sainted
Who with grief have been acquainted,
Making nations nobler, freer.

In their feverish exultations,
In their triumph and their yearning,
In their passionate pulsations,
In their words among the nations,
The Promethean fire is burning.

Shall it, then, be unavailing,
All this toil for human culture?
Through the cloud-rack, dark and trailing
Must they see above them sailing
O’er life’s barren crags the vulture?

Such a fate as this was Dante’s,
By defeat and exile maddened;
Thus were Milton and Cervantes,
Nature’s priests and Corybantes,
By affliction touched and saddened.

But the glories so transcendent
That around their memories cluster,
And, on all their steps attendant,
Make their darkened lives resplendent
With such gleams of inward lustre!

All the melodies mysterious,
Through the dreary darkness chanted;
Thoughts in attitudes imperious,
Voices soft, and deep, and serious,
Words that whispered, songs that haunted!

All the soul in rapt suspension,
All the quivering, palpitating
Chords of life in utmost tension,
With the fervour of invention,
With the rapture of creating!

Ah, Prometheus! heaven-scaling!
In such hours of exultation
Even the faintest heart, unquailing,
Might behold the vulture sailing
Round the cloudy crags Caucasian!

Though to all there is not given
Strength for such sublime endeavour,
Thus to scale the walls of heaven,
And to leaven with fiery leaven
All the hearts of men for ever;

Yet all bards, whose hearts unblighted
Honour and believe the presage,
Hold aloft their torches lighted,
Gleaming through the realms benighted,
As they onward bear the message!

THE LADDER OF SAINT AUGUSTINE.

Saint Augustine! well hast thou said,
That of our vices we can frame
A ladder,[47] if we will but tread
Beneath our feet each deed of shame!

All common things, each day’s events,
That with the hour begin and end,
Our pleasures and our discontents,
Are rounds by which we may ascend.

The low desire, the base design,
That makes another’s virtues less;
The revel of the ruddy wine,
And all occasions of excess;

The longing for ignoble things;
The strife for triumph more than truth;
The hardening of the heart, that brings
Irreverence for the dreams of youth;

All thoughts of ill; all evil deeds,
That have their roots in thoughts of ill;
Whatever hinders or impedes
The action of the nobler will;—

All these must first be trampled down
Beneath our feet, if we would gain
In the bright fields of fair renown
The right of eminent domain.

We have not wings, we cannot soar;
But we have feet to scale and climb
By slow degrees, by more and more,
The cloudy summits of our time.

The mighty pyramids of stone
That wedge-like cleave the desert airs,
When nearer seen, and better known,
Are but gigantic flights of stairs.

The distant mountains, that uprear
Their solid bastions to the skies,
Are crossed by pathways, that appear
As we to higher levels rise.

The heights by great men reached and kept
Were not attained by sudden flight,
But they, while their companions slept,
Were toiling upward in the night.

Standing on what too long we bore
With shoulders bent and downcast eyes,
We may discern—unseen before—
A path to higher destinies.

Nor deem the irrevocable Past
As wholly wasted, wholly vain,
If, rising on its wrecks, at last
To something nobler we attain.

[47] The words of St. Augustine are, “De vitiis nostris scalam nobis facimus, si vitia ipsa calcamus.”—Sermon iii. _De Ascensione_.

BIRDS OF PASSAGE.

Black shadows fall
From the lindens tall,
That lift aloft their massive wall
Against the southern sky;

And from the realms
Of the shadowy elms
A tide-like darkness overwhelms
The fields that round us lie.

But the night is fair,
And everywhere
A warm, soft vapour fills the air,
And distant sounds seem near;

And above, in the light
Of the star-lit night,
Swift birds of passage wing their flight
Through the dewy atmosphere.

I hear the beat
Of their pinions fleet,
As from the land of snow and sleet
They seek a southern lea.

I hear the cry
Of their voices high
Falling dreamily through the sky,
But their forms I cannot see.

O, say not so!
Those sounds that flow
In murmurs of delight and woe
Come not from wings of birds.

They are the throngs
Of the poet’s songs,
Murmurs of pleasures, and pains, and wrongs,
The sounds of wingèd words.

This is the cry
Of souls, that high
On toiling, beating pinions, fly,
Seeking a warmer clime.

From their distant flight
Through realms of light
It falls into our world of night,
With the murmuring sound of rhyme.

THE PHANTOM SHIP.[48]

In Mather’s _Magnalia Christi_,
Of the old colonial time,
May be found in prose the legend
That is here set down in rhyme.

A ship sailed from New Haven,
And the keen and frosty airs,
That filled her sails at parting,
Were heavy with good men’s prayers.

“O Lord! if it be thy pleasure”—
Thus prayed the old divine—
“To bury our friends in the ocean,
Take them, for they are thine!”

But Master Lamberton muttered,
And under his breath said he,
“This ship is so crank and walty,
I fear our grave she will be!”

And the ship that came from England,
When the winter months were gone,
Brought no tidings of this vessel,
Nor of Master Lamberton.

This put the people to praying
That the Lord would let them hear
What in his greater wisdom
He had done with friends so dear.

And at last their prayers were answered:—
It was in the month of June,
An hour before the sunset
Of a windy afternoon,

When, steadily steering landward,
A ship was seen below,
And they knew it was Lamberton, Master,
Who sailed so long ago.

On she came, with a cloud of canvas,
Right against the wind that blew,
Until the eye could distinguish
The faces of the crew.

Then fell her straining topmasts,
Hanging tangled in the shrouds,
And her sails were loosened and lifted,
And blown away like clouds.

And the masts, with all their rigging,
Fell slowly, one by one,
And the hulk dilated and vanished,
As a sea-mist in the sun!

And the people who saw this marvel
Each said unto his friend,
That this was the mould of their vessel,
And thus her tragic end.

And the pastor of the village
Gave thanks to God in prayer,
That, to quiet their troubled spirits,
He had sent this Ship of Air.

[48] A detailed account of this “apparition of a Ship in the Air” is given by Cotton Mather in his _Magnalia Christi_, book i. ch. vi. It is contained in a letter from the Rev. James Pierpont, Pastor of New Haven. To this account, Mather adds these words:—

“Reader, there being yet living so many credible gentlemen, that were eye-witnesses of this wonderful thing, I venture to publish it for a thing as undoubted as ’tis wonderful.”

THE WARDEN[49] OF THE CINQUE PORTS.

A mist was driving down the British Channel,
The day was just begun,
And through the window-panes, on floor and panel,
Streamed the red autumn sun.

It glanced on flowing flag and rippling pennon,
And the white sails of ships;
And, from the frowning rampart, the black cannon
Hailed it with feverish lips.

Sandwich and Romney, Hastings, Hithe, and Dover,
Were all alert that day,
To see the French war-steamers speeding over,
When the fog cleared away.

Sullen and silent, and like couchant lions,
Their cannon through the night,
Holding their breath, had watched, in grim defiance,
The sea-coast opposite.

And now they roared at drum-beat from their stations
On every citadel;
Each answering each, with morning salutations,
That all was well.

And down the coast, all taking up the burden,
Replied the distant forts,
As if to summon from his sleep the Warden
And Lord of the Cinque Ports.

Him shall no sunshine from the fields of azure,
No drum-beat from the wall,
No morning gun from the black fort’s embrasure
Awaken with its call!

No more, surveying with an eye impartial
The long line of the coast,
Shall the gaunt figure of the old Field-Marshal
Be seen upon his post!

For in the night, unseen, a single warrior,
In sombre harness mailed,
Dreaded of man, and surnamed the Destroyer,
The rampart wall has scaled.

He passed into the chamber of the sleeper,
The dark and silent room,
And as he entered, darker grew, and deeper,
The silence and the gloom.

He did not pause to parley or dissemble,
But smote the Warden hoar;
Ah! what a blow! that made all England tremble,
And groan from shore to shore.

Meanwhile, without, the surly cannon waited,
The sun rose bright o’erhead:
Nothing in Nature’s aspect intimated
That a great man was dead.

[49] The Duke of Wellington, written in memory of his death.

HAUNTED HOUSES.

All houses wherein men have lived and died
Are haunted houses. Through the open doors
The harmless phantoms on their errands glide,
With feet that make no sound upon the floors.

We meet them at the doorway, on the stair,
Along the passages they come and go,
Impalpable impressions on the air,
A sense of something moving to and fro.

There are more guests at table than the hosts
Invited; the illuminated hall
Is thronged with quiet, inoffensive ghosts,
As silent as the pictures on the wall.

The stranger at my fireside cannot see
The forms I see, nor hear the sounds I hear;
He but perceives what is; while unto me
All that has been is visible and clear.

We have no title-deeds to house or lands;
Owners and occupants of earlier dates
From graves forgotten stretch their dusty hands,
And hold in mortmain still their old estates.

The spirit-world around this world of sense
Floats like an atmosphere, and everywhere
Wafts through these earthly mists and vapours dense
A vital breath of more ethereal air.

Our little lives are kept in equipoise
By opposite attractions and desires;
The struggle of the instinct that enjoys,
And the more noble instinct that aspires.

These perturbations, this perpetual jar
Of earthly wants and aspirations high,
Come from the influence of an unseen star,
An undiscovered planet in our sky.

And as the moon from some dark gate of cloud
Throws o’er the sea a floating bridge of light,
Across whose trembling planks our fancies crowd
Into the realm of mystery and night,—

So from the world of spirits there descends
A bridge of light, connecting it with this,
O’er whose unsteady floor, that sways and bends,
Wander our thoughts above the dark abyss.

THE EMPEROR’S BIRD’S-NEST.

Once the Emperor Charles of Spain
With his swarthy, grave commanders,
I forget in what campaign,
Long besieged, in mud and rain,
Some old frontier town of Flanders.

Up and down the dreary camp,
In great boots of Spanish leather,
Striding with a measured tramp,
These Hidalgos, dull and damp,
Cursed the Frenchmen, cursed the weather.

Thus as to and fro they went,
Over upland and through hollow,
Giving their impatience vent,
Perched upon the Emperor’s tent,
In her nest, they spied a swallow.

Yes, it was a swallow’s nest,
Built, of clay and hair of horses,
Mane or tail, or dragoon’s crest,
Found on hedge-rows east and west,
After skirmish of the forces.

Then an old Hidalgo said,
As he twirled his grey mustachio,
“Sure this swallow overhead
Thinks the Emperor’s tent a shed,
And the Emperor but a Macho!”[50]

Hearing his imperial name
Coupled with those words of malice,
Half in anger, half in shame,
Forth the great campaigner came
Slowly from his canvas palace.

“Let no hand the bird molest,”
Said he solemnly, “nor hurt her!”
Adding then, by way of jest,
“Golondrina[51] is my guest,
’Tis the wife of some deserter!”

Swift as bow-string speeds a shaft,
Through the camp was spread the rumour,
And the soldiers, as they quaffed
Flemish beer at dinner, laughed
At the Emperor’s pleasant humour.

So unharmed and unafraid
Sat the swallow still and brooded,
Till the constant cannonade
Through the walls a breach had made,
And the siege was thus concluded.

Then the army, elsewhere bent,
Struck its tents as if disbanding,
Only not the Emperor’s tent,
For he ordered, ere he went,
Very curtly, “Leave it standing.”

So it stood there all alone,
Loosely flapping, torn and tattered,
Till the brood was fledged and flown,
Singing o’er those walls of stone
Which the cannon-shot had shattered.

[50] _Macho_ is Spanish for _mule_.

[51] _Golondrina_, a swallow. It is also a cant word for a deserter.

IN THE CHURCHYARD AT CAMBRIDGE.

In the village churchyard she lies,
Dust is in her beautiful eyes,
No more she breathes, nor feels, nor stirs;
At her feet and at her head
Lies a slave to attend the dead,
But their dust is white as hers.

Was she a lady of high degree,
So much in love with the vanity
And foolish pomp of this world of ours;
Or was it Christian charity,
And lowliness and humility,
The richest and rarest of all dowers?

Who shall tell us? No one speaks;
No colour shoots into those cheeks,
Either of anger or of pride,
At the rude question we have asked;
Nor will the mystery be unmasked
By those who are sleeping at her side.

Hereafter?—And do you think to look
On the terrible pages of that Book
To find her failings, faults, and errors?
Ah, you will then have other cares,
In your own shortcomings and despairs,
In your own secret sins and terrors!

THE TWO ANGELS.[52]

Two angels, one of Life and one of Death,
Passed o’er our village as the morning broke;
The dawn was on their faces, and beneath,
The sombre houses hearsed with plumes of smoke.

Their attitude and aspect were the same,
Alike their features and their robes of white;
But one was crowned with amaranth, as with flame,
And one with asphodels, like flakes of light.

I saw them pause on their celestial way;
Then said I, with deep fear and doubt oppressed,
“Beat not so loud, my heart, lest thou betray
The place where thy belovèd are at rest!”

And he who wore the crown of asphodels,
Descending, at my door began to knock,
And my soul sank within me, as in wells
The waters sink before an earthquake’s shock.

I recognised the nameless agony,
The terror and the tremor and the pain,
That oft before had filled or haunted me,
And now returned with threefold strength again.

The door I opened to my heavenly guest,
And listened, for I thought I heard God’s voice;
And, knowing whatsoe’er he sent was best,
Dared neither to lament nor to rejoice.

Then with a smile, that filled the house with light,
“My errand is not Death, but Life,” he said;
And, ere I answered, passing out of sight,
On his celestial embassy he sped.

’Twas at thy door, O friend! and not at mine,
The angel with the amaranthine wreath,
Pausing, descended, and with voice divine,
Whispered a word that had a sound like Death.

Then fell upon the house a sudden gloom,
A shadow on those features, fair and thin;
And softly, from that hushed and darkened room,
Two angels issued, where but one went in.

All is of God! If he but wave his hand,
The mists collect, the rain falls thick and loud,
Till, with a smile of light on sea and land,
Lo! he looks back from the departing cloud.

Angels of Life and Death alike are his;
Without his leave they pass no threshold o’er;
Who, then, would wish or dare, believing this,
Against his messengers to shut the door?

[52] A child was born to Longfellow the same night that his friend Mr. Lowell’s wife died; he commemorates both events in this poem.

OLIVER BASSELIN.[53]

In the Valley of the Vire
Still is seen an ancient mill,
With its gables quaint and queer,
And beneath the window-sill,
On the stone,
These words alone:
“Oliver Basselin lived here.”

Far above it, on the steep,
Ruined stands the old Château;
Nothing but the donjon-keep
Left for shelter or for show.
Its vacant eyes
Stare at the skies,
Stare at the valley green and deep.

Once a convent, old and brown,
Looked, but ah! it looks no more,
From the neighbouring hill-side down
On the rushing and the roar
Of the stream
Whose sunny gleam
Cheers the little Norman town.

In that darksome mill of stone,
To the water’s dash and din,
Careless, humble, and unknown,
Sang the poet Basselin
Songs that fill
That ancient mill
With a splendour of its own.

Never feeling of unrest
Broke the pleasant dream he dreamed;
Only made to be his nest,
All the lovely valley seemed;
No desire
Of soaring higher
Stirred or fluttered in his breast.

True, his songs were not divine;
Were not songs of that high art,
Which, as winds do in the pine,
Find an answer in each heart;
But the mirth
Of this green earth
Laughed and revelled in his line.

From the alehouse and the inn,
Opening on the narrow street,
Came the loud, convivial din,
Singing and applause of feet,
The laughing lays
That in those days
Sang the poet Basselin.

In the castle, cased in steel,
Knights, who fought at Agincourt,
Watched and waited, spur on heel;
But the poet sang for sport
Songs that rang
Another clang,
Songs that lowlier hearts could feel.

In the convent, clad in grey,
Sat the monks in lonely cells,
Paced the cloisters, knelt to pray,
And the poet heard their bells;
But his rhymes
Found other chimes,
Nearer to the earth than they.

Gone are all the barons bold,
Gone are all the knights and squires,
Gone the abbot stern and cold,
And the brotherhood of friars;
Not a name
Remains to fame,
From those mouldering days of old!

But the poet’s memory here
Of the landscape makes a part;
Like the river, swift and clear,
Flows his song through many a heart;
Haunting still
That ancient mill,
In the Valley of the Vire.

[53] Oliver Basselin, the “_Père joyeux du Vaudeville_,” flourished in the fifteenth century, and gave to his convivial songs the name of his native valleys, in which he sang them, Vaux-de-Vire. This name was afterwards corrupted into the modern _Vaudeville_.

THE JEWISH CEMETERY AT NEWPORT.

How strange it seems! These Hebrews in their graves,
Close by the street of this fair seaport town,
Silent beside the never-silent waves,
At rest in all this moving up and down.

The trees are white with dust, that o’er their sleep
Wave their broad curtains in the south wind’s breath,
While underneath these leafy tents they keep
The long mysterious Exodus of Death.

And these sepulchral stones, so old and brown,
That pave with level flags their burial-place,
Seem like the tablets of the Law, thrown down
And broken by Moses at the mountain’s base.

The very names recorded here are strange,
Of foreign accent, and of different climes;
Alvares and Rivera interchange
With Abraham and Jacob of old times.

“Blessed be God! for he created Death!”
The mourner said, “and Death is rest and peace;”
Then added, in the certainty of faith,
“And giveth Life that never more shall cease.”

Closed are the portals of their Synagogue,
No Psalms of David now the silence break,
No Rabbi reads the ancient Decalogue
In the grand dialect the Prophets spake.

Gone are the living, but the dead remain,
And not neglected; for a hand unseen,
Scattering its bounty, like a summer-rain,
Still keeps their graves and their remembrance green.

How came they here? What burst of Christian hate,
What persecution, merciless and blind,
Drove o’er the sea—that desert desolate—
These Ishmaels and Hagars of mankind?

They lived in narrow streets and lanes obscure,
Ghetto and Judenstrass, in mirk and mire;
Taught in the school of patience to endure
The life of anguish and the death of fire.

All their lives long, with the unleavened bread
And bitter herbs of exile and its fears,
The wasting famine of the heart they fed,
And slaked its thirst with Marah of their tears.

Anathema maranatha! was the cry
That rang from town to town, from street to street;
At every gate the accursed Mordecai
Was mocked and jeered, and spurned by Christian feet.

Pride and humiliation hand in hand
Walked with them through the world where’er they went,
Trampled and beaten were they as the sand,
And yet unshaken as the continent.

For in the background figures vague and vast
Of patriarchs and of prophets rose sublime,
And all the great traditions of the past
They saw reflected in the coming time.

And thus for ever with reverted look
The mystic volume of the world they read,
Spelling it backward, like a Hebrew book,
Till life became a Legend of the Dead.

But ah! what once has been shall be no more!
The groaning earth in travail and in pain
Brings forth its races, but does not restore,
And the dead nations never rise again.

VICTOR GALBRAITH.[54]

Under the walls of Monterey
At daybreak the bugles began to play,
Victor Galbraith!
In the mist of the morning damp and grey,
These were the words they seemed to say:
“Come forth to thy death,
Victor Galbraith!”

Forth he came, with a martial tread;
Firm was his step, erect his head;
Victor Galbraith,
He who so well the bugle played,
Could not mistake the words it said:
“Come forth to thy death,
Victor Galbraith!”

He looked at the earth, he looked at the sky,
He looked at the files of musketry,
Victor Galbraith!
And he said, with a steady voice and eye,
“Take good aim; I am ready to die!”
Thus challenges death
Victor Galbraith.

Twelve fiery tongues flashed straight and red,
Six leaden balls on their errand sped;
Victor Galbraith
Falls to the ground, but he is not dead;
His name was not stamped on those balls of lead,
And they only scath
Victor Galbraith.

Three balls are in his breast and brain,
But he rises out of the dust again,
Victor Galbraith!
The water he drinks has a bloody stain;
“O kill me, and put me out of my pain!”
In his agony prayeth
Victor Galbraith.

Forth dart once more those tongues of flame,
And the bugler has died a death of shame,
Victor Galbraith!
His soul has gone back to whence it came,
And no one answers to the name,
When the Sergeant saith,
“Victor Galbraith!”

Under the walls of Monterey
By night a bugle is heard to play,
Victor Galbraith!
Through the mist of the valley damp and grey
The sentinels hear the sound, and say,
“That is the wraith
Of Victor Galbraith!”

[54] This poem is founded on fact. Victor Galbraith was a bugler in a company of volunteer cavalry; and was shot in Mexico for some breach of discipline. It is a common superstition among soldiers, that no balls will kill them unless their names are written on them. The old proverb says, “Every bullet has its billet.”

DAYLIGHT AND MOONLIGHT.

In broad daylight, and at noon,
Yesterday I saw the moon
Sailing high, but faint and white,
As a schoolboy’s paper kite.

In broad daylight yesterday,
I read a Poet’s mystic lay;
And it seemed to me at most
As a phantom, or a ghost.

But at length the feverish day
Like a passion died away,
And the night, serene and still,
Fell on village, vale, and hill.

Then the moon, in all her pride,
Like a spirit glorified,
Filled and overflowed the night
With revelations of her light.

And the Poet’s song again
Passed like music through my brain;
Night interpreted to me
All its grace and mystery.

MY LOST YOUTH.

Often I think of the beautiful town
That is seated by the sea;
Often in thought go up and down
The pleasant streets of that dear old town,
And my youth comes back to me.
And a verse of a Lapland song
Is haunting my memory still:
“A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.”

I can see the shadowy lines of its trees,
And catch, in sudden gleams,
The sheen of the far-surrounding seas,
And islands that were the Hesperides
Of all my boyish dreams.
And the burden of that old song,
It murmurs and whispers still:
“A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.”

I remember the black wharves and the slips,
And the sea-tides tossing free;
And Spanish sailors with bearded lips,
And the beauty and mystery of the ships,
And the magic of the sea.
And the voice of that wayward song
Is singing and saying still:
“A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.”

I remember the bulwarks by the shore,
And the fort upon the hill;
The sunrise gun, with its hollow roar,
The drum-beat repeated o’er and o’er,
And the bugle wild and shrill.
And the music of that old song
Throbs in my memory still:
“A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.”