PART TWO (continued 3)
Reading edition
(Sir Philip Sidney: Astrophel and Stella, i. ab. 1580.)
With how sad steps, O Moon, thou climb'st the skies! How silently, and with how wan a face! What, may it be that e'en in heavenly place That busy archer his sharp arrows tries! Sure, if that long-with-love-acquainted eyes Can judge of love, thou feel'st a lover's case, I read it in thy looks; thy languish'd grace, To me, that feel the like, thy state descries. Then, e'en of fellowship, O Moon, tell me, Is constant love deem'd there but want of wit? Are beauties there as proud as here they be? Do they above love to be loved, and yet Those lovers scorn whom that love doth possess? Do they call virtue, there, ungratefulness?
(Sir Philip Sidney: Astrophel and Stella, xxxi. ab. 1580.)
Sidney's favorite form for the sonnet sestet was that shown in these specimens (cdcdee), a form that suggests the influence of the Surrey or English sonnet rather than the Italian. The first of the sonnets is of course exceptional in being written in alexandrines, but is among the finest in the sequence. See also Sidney's sonnet of the English type, p. 291, below.
The Astrophel and Stella (containing 110 sonnets) is the earliest of the great sonnet-sequences or sonnet-cycles of English poetry, those of Spenser, Shakspere, Rossetti, and Mrs. Browning being later representatives. In the Elizabethan age the fashion of writing sonnets, and sonnet-sequences in particular, was at its height, especially in the last decade of the century (1590-1600). On this subject, see the Introduction to Professor Schelling's Elizabethan Lyrics, in the Athenæum Press Series, and Mr. Sidney Lee's Life of Shakspere. Other noteworthy sonnet-sequences besides those of Sidney, Spenser, and Shakspere were Constable's Diana, Daniel's Delia, Lodge's Phyllis, Watson's Tears of Fancy, Barnes's Parthenophil, Giles Fletcher's Lycia, and Drayton's Idea,—all published in the years 1592-1594. A now forgotten poet by the name of Lok produced more than four hundred sonnets, proving himself an Elizabethan rival to Wordsworth.
I know that all beneath the moon decays, And what by mortals in this world is brought In time's great periods shall return to naught; That fairest states have fatal nights and days. I know how all the Muse's heavenly lays, With toil of spirit which are so dearly bought, As idle sounds, of few or none are sought; And that naught lighter is than airy praise. I know frail beauty like the purple flower, To which one morn oft birth and death affords; That love a jarring is of minds' accords, Where sense and will invassall reason's power. Know what I list, this all can not me move, But that, O me! I both must write and love.
(William Drummond of Hawthornden: Sense of the Fragility of All Things, etc. 1616.)
Drummond was a sonneteer of great skill, and used many original combinations of rime-schemes,—some forty in all,—yet usually approximating to the Italian type. Leigh Hunt says: "Drummond's sonnets, for the most part, are not only of the legitimate order, but they are the earliest in the language that breathe what may be called the habit of mind observable in the best Italian writers of sonnets; that is to say, a mixture of tenderness, elegance, love of country, seclusion, and conscious sweetness of verse." (Essay on the Sonnet, in The Book of the Sonnet, vol. i. pp. 78, 79.)
Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think'st thou dost overthrow Die not, poor Death; nor yet canst thou kill me. From rest and sleep, which but thy pictures be, Much pleasure: then from thee much more must flow; And soonest our best men do with thee go— Rest of their bones, and souls' delivery. Thou'rt slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy or charms can make us sleep as well And better than thy stroke. Why swell'st thou then? One short sleep past, we wake eternally, And death shall be no more: Death, thou shalt die.
(John Donne: Holy Sonnets, X. 1635.)
Donne's series of "Holy Sonnets" was one of the few Elizabethan sequences, or cycles, which dealt with other than amatory subjects. The seven sonnets of the series called La Corona are bound together into a "crown of sonnets,"—an Italian fashion, according to which the first line of each sonnet is the same as the last of the sonnet preceding, and the last line of the last sonnet the same as the first line of the first.
When I consider how my light is spent Ere half my days, in this dark world and wide, And that one talent which is death to hide Lodged with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest He returning chide,— Doth God exact day-labor, light denied? I fondly ask:—But patience, to prevent That murmur, soon replies: God doth not need Either man's work, or His own gifts; who best Bear His mild yoke, they serve Him best: His state Is kingly; thousands at His bidding speed And post o'er land and ocean without rest:— They also serve who only stand and wait.
(Milton: On his Blindness. ab. 1655.)
Milton learned the sonnet direct from the Italian, and wrote five in that language. While following the Italian rime-schemes, however, he was not careful to observe any division between octave and sestet. Like Donne, he turned the sonnet to other subjects than that of love, or—in Landor's words—
"He caught the sonnet from the dainty hand Of Love, who cried to lose it, and he gave The notes to Glory."
(To Lamartine.)
Compare, also, Wordsworth's saying that in Milton's hand
"The Thing became a trumpet, whence he blew Soul-animating strains—alas, too few!"
Besides the eighteen English sonnets in regular form, Milton wrote a "tailed," or "caudated," sonnet, following an Italian fashion,—"On the New Forcers of Conscience under the Long Parliament." "He intended it," says Masson, "to be what may be called an Anti-Presbyterian and Pro-Toleration Sonnet; but by going beyond fourteen lines, converted it into what the Italians called a 'sonnet with a tail.'" (Globe ed., p. 440.) The "tail" rimes cfffgg.
Deem not devoid of elegance the sage, By Fancy's genuine feelings unbeguiled, Of painful pedantry the poring child, Who turns, of these proud domes, th' historic page, Now sunk by Time, and Henry's fiercer rage. Think'st thou the warbling Muses never smiled On his lone hours? Ingenuous views engage His thoughts, on themes, unclassic falsely styled, Intent. While cloistered Piety displays Her mouldering roll, the piercing eye explores New manners, and the pomp of elder days, Whence culls the pensive bard his pictured stores. Nor rough nor barren are the winding ways Of hoar Antiquity, but strown with flowers.
(Thomas Warton: In a Blank Leaf of Dugdale's 'Monasticon.' ab. 1775.)
After Milton, the sonnet fell into disuse for a century. "Walsh," says Mr. Gosse, "is the author of the only sonnet written in English between Milton's, in 1658, and Warton's, about 1750." (Ward's English Poets, vol. iii. p. 7.) See, however, that of Gray on West, written in 1742, quoted p. 295, below. To the Warton brothers, pioneers in so many ways of the romantic revival, chief credit is given for the revival of the sonnet in the eighteenth century. Other sonneteers of the period were William Mason, Thomas Edwards, Benjamin Stillingfleet, and Thomas Russell (see Seccombe's Age of Johnson, pp. 254, 255, and Beers's English Romanticism in the Eighteenth Century, pp. 160, 161).
O Time! who know'st a lenient hand to lay Softest on sorrow's wound, and slowly thence (Lulling to sad repose the weary sense) The faint pang stealest, unperceived, away; On thee I rest my only hope at last, And think when thou hast dried the bitter tear That flows in vain o'er all my soul held dear, I may look back on every sorrow past, And meet life's peaceful evening with a smile. As some lone bird, at day's departing hour, Sings in the sunbeam, of the transient shower Forgetful, though its wings are wet the while: Yet ah! how much must that poor heart endure Which hopes from thee, and thee alone, a cure!
(William Lisle Bowles: To Time. 1789.)
Bowles (1762-1850) wrote numerous sonnets, and was influential in carrying on the movement begun by the Wartons. His sonnets were admired, in particular, by Coleridge and Wordsworth, the former poet dedicating to him a sonnet beginning:
"My heart has thanked thee, Bowles! for those soft strains Whose sadness soothes me."
His sonnets were, however, neglectful of the regular Italian structure, so that under his influence, as Leigh Hunt observed, "the illegitimate order ... became such a favorite with lovers of easy writing who could string fourteen lines together, that ... it continued to fill the press with heaps of bad verses, till the genius of Wordsworth succeeded in restoring the right system." (Essay on the Sonnet, p. 85.) But see the notes on Wordsworth's sonnets, p. 280, below.
Mary! I want a lyre with other strings, Such aid from Heaven as some have feigned they drew, An eloquence scarce given to mortals, new And undebased by praise of meaner things, That, ere through age or woe I shed my wings, I may record thy worth with honor due, In verse as musical as thou art true, And that immortalizes whom it sings. But thou hast little need. There is a book By Seraphs writ with beams of heavenly light, On which the eyes of God not rarely look, A chronicle of actions just and bright: There all thy deeds, my faithful Mary, shine, And, since thou own'st that praise, I spare thee mine.
(Cowper: To Mrs. Unwin. 1793.)
Nuns fret not at their convent's narrow room; And hermits are contented with their cells; And students with their pensive citadels; Maids at the wheel, the weaver at his loom, Sit blithe and happy; bees that soar for bloom, High as the highest peak of Furness Fells, Will murmur by the hour in foxglove bells. In truth the prison unto which we doom Ourselves no prison is; and hence to me, In sundry moods, 'twas pastime to be bound Within the sonnet's scanty plot of ground, Pleased if some souls (for such there needs must be) Who have felt the weight of too much liberty, Should find brief solace there, as I have found.
(Wordsworth: The Sonnet. 1806.)
Scorn not the Sonnet; Critic, you have frowned, Mindless of its just honors; with this key Shakspere unlocked his heart; the melody Of this small lute gave ease to Petrarch's wound; A thousand times this pipe did Tasso sound; With it Camoens soothed an exile's grief; The Sonnet glittered a gay myrtle leaf Amid the cypress with which Dante crowned His visionary brow: a glow-worm lamp, It cheered mild Spenser, called from Faery-land To struggle through dark ways; and, when a damp Fell round the path of Milton, in his hand The Thing became a trumpet, whence he blew Soul-animating strains—alas, too few!
(Wordsworth: Scorn not the Sonnet. 1827.)
The World is too much with us; late and soon, Getting and spending, we lay waste our powers; Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon, The winds that will be howling at all hours And are up-gather'd now like sleeping flowers, For this, for every thing, we are out of tune; It moves us not.—Great God! I'd rather be A Pagan suckled in a creed outworn,— So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn.
(Wordsworth: The World is too much with us. 1806.)
Wordsworth's complaint as to the number of Milton's sonnets ("alas, too few!") certainly cannot be applied to his own. They number about five hundred, ranking him as the most prolific English sonneteer. These include some of the finest sonnets in the language, and very many of admittedly indifferent quality. Mr. Swinburne regards his sonnets as on the whole "the best out of sight" in our poetry. In general he followed the Italian model, but with very great liberty. He not only practised great variety of rime-arrangement in the sestet, but frequently altered the scheme of the octave to such forms as abbaacca; see, for example, the specimen beginning "Scorn not the Sonnet." Wordsworth also showed no regard for the careful division of thought between octave and sestet. Indeed in a letter to Dyce, in 1833, he said that he regarded the sonnet not as a piece of architecture, but as "an orbicular body,—a sphere or a dew-drop." (Works, ed. Knight, vol. xi. p. 232.) Its excellence seemed to him to consist mainly in a "pervading sense of intense unity." Nevertheless, he admitted that "a sonnet will often be found excellent, where the beginning, the middle, and the end are distinctly marked, and also where it is distinctly separated into two parts, to which, as I before observed, the strict Italian model, as they write it, is favorable."
Mysterious Night! when our first parent knew Thee from report divine, and heard thy name, Did he not tremble for this lovely frame, This glorious canopy of light and blue? Yet 'neath a curtain of translucent dew, Bathed in the rays of the great setting flame, Hesperus with the host of heaven came, And lo! creation widened in man's view. Who could have thought such darkness lay concealed Within thy beams, O Sun! or who could find, Whilst fly, and leaf, and insect stood revealed, That to such countless orbs thou mad'st us blind? Why do we, then, shun death with anxious strife? If light can thus deceive, wherefore not life?
(Joseph Blanco White: To Night. ab. 1825. In The Book of the Sonnet, i. 258.)
This famous sonnet was called by Coleridge "the best in the English language." He seems, however, to have been led to this opinion rather by the thought than the form.
I met a traveler from an antique land, Who said: Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shatter'd visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp'd on these lifeless things, The hand that mock'd them and the heart that fed; And on the pedestal these words appear: "My name is Ozymandias, king of kings: Look on my works, ye mighty, and despair!" Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare, The lone and level sands stretch far away.
(Shelley: Ozymandias of Egypt. 1817.)
Shelley wrote but few sonnets, and all but one (To the Nile) are irregular in structure. The rime-scheme of the present specimen is, of course, wholly eccentric.
The poetry of earth is never dead: When all the birds are faint with the hot sun, And hide in cooling trees, a voice will run From hedge to hedge about the new-mown mead: That is the Grasshopper's; he takes the lead In summer luxury; he has never done With his delights, for, when tired out with fun, He rests at ease beneath some pleasant weed. The poetry of earth is ceasing never: On a lone winter evening, when the frost Has wrought a silence, from the stove there shrills The Cricket's song, in warmth increasing ever, And seems to one in drowsiness half lost The Grasshopper's among some grassy hills.
(Keats: The Grasshopper and Cricket. 1817.)
Keats's sonnets are for the most part regular in both rime-scheme and bipartite structure; but a number of the posthumous sonnets are in the English form. The present specimen (which competes with the more familiar sonnet on Chapman's Homer for the chief place among those of Keats) is a particularly good example of the bipartite structure and its organic relation to the thought of the sonnet.
Amazing monster! that, for aught I know, With the first sight of thee didst make our race Forever stare! O flat and shocking face, Grimly divided from the breast below! Thou that on dry land horribly dost go With a split body and most ridiculous pace, Prong after prong, disgracer of all grace, Long-useless-finned, haired, upright, unwet, slow! O breather of unbreathable, sword-sharp air, How canst exist? How bear thyself, thou dry And dreary sloth! What particle canst thou share Of the only blessed life, the watery? I sometimes see of ye an actual pair Go by, linked fin by fin! most odiously.
(Leigh Hunt: The Fish to the Man. 1836.)
If I leave all for thee, wilt thou exchange And be all to me? Shall I never miss Home-talk and blessing, and the common kiss That comes to each in turn, nor count it strange, When I look up, to drop on a new range Of walls and floors,—another home than this? Nay, wilt thou fill that place by me which is Fill'd by dead eyes, too tender to know change? That's hardest! If to conquer love, has tried, To conquer grief tries more, as all things prove: For grief indeed is love, and grief beside. Alas, I have grieved so I am hard to love— Yet love me—wilt thou? Open thine heart wide, And fold within the wet wings of thy dove.
(Elizabeth Barrett Browning: Sonnets from the Portuguese, xxxv. 1850.)
The forty-four Sonnets from the Portuguese (the title, of course, being purely fanciful) constitute one of the chief sonnet-sequences of the modern period. While true to the Italian rime-structure, Mrs. Browning cannot be said to have treated the sonnet either as a two-part poem or as a unit. Only three of the series, says Professor Corson (the first, fourth, and thirteenth), "can be said to realize with any distinctness the idea and the peculiar artistic effect of the sonnet proper." Hence while calling them "the most beautiful love-poems in the language," he thinks "they cannot be classed as sonnets." (Primer of English Verse, pp. 175, 176.)
A Sonnet is a moment's monument,— Memorial from the Soul's eternity To one dead deathless hour. Look that it be, Whether for lustral rite or dire portent, Of its own arduous fulness reverent: Carve it in ivory or in ebony, As Day or Night may rule; and let Time see Its flowering crest impearled and orient. A sonnet is a coin: its face reveals The soul,—its converse, to what Power 'tis due:— Whether for tribute to the august appeals Of Life, or dower in Love's high retinue, It serve; or, 'mid the dark wharf's cavernous breath, In Charon's palm it pay the toll to Death.
(Rossetti: Sonnet preceding The House of Life. 1881.)
When do I see thee most, beloved one? When in the light the spirits of mine eyes Before thy face, their altar, solemnize The worship of that Love through thee made known? Or when in the dusk hours (we two alone), Close-kissed and eloquent of still replies Thy twilight-hidden glimmering visage lies, And my soul only sees thy soul its own? O love, my love! if I no more should see Thyself, nor on the earth the shadow of thee, Nor image of thine eyes in any spring,— How then should sound upon Life's darkening slope The ground-whirl of the perished leaves of Hope, The wind of Death's imperishable wing?
(Rossetti: The House of Life: Sonnet iv. Lovesight. 1870.)
The sonnets of Rossetti are undoubtedly the most perfect representatives of the Italian form in English poetry of the nineteenth century, and The House of Life (in 101 sonnets) is probably to be regarded as the most important sonnet-sequence since the Elizabethan age. The bipartite character of Rossetti's sonnets is marked, in editions of his poems, by the printing of the octave and sestet with a space between them.
They rose to where their sovran eagle sails, They kept their faith, their freedom, on the height, Chaste, frugal, savage, armed by day and night Against the Turk; whose inroad nowhere scales Their headlong passes, but his footstep fails, And red with blood the Crescent reels from fight Before their dauntless hundreds, in prone flight By thousands down the crags and through the vales. O smallest among peoples! rough rock-throne Of Freedom! warriors beating back the swarm Of Turkish Islam for five hundred years, Great Tsernagora! never since thine own Black ridges drew the cloud and brake the storm Has breathed a race of mightier mountaineers.
(Tennyson: Montenegro. 1877.)
It is curious that the two chief representatives of English poetry of the Victorian period, Tennyson and Browning, should neither of them have given much attention to the sonnet nor have achieved any notable success in the form. Among Tennyson's poems there are some seventeen sonnets, of which the present specimen was considered by the poet to be the best. It represents a common form of the bipartite structure, where the octave is a narrative, and the sestet a comment upon what has been narrated. In the following specimen, from Matthew Arnold, the structure is similar. Lentzner quotes the East London, in his monograph on the English sonnet, as a case where the octave represents the thought in particular, the sestet in the abstract; in other cases the order is the reverse.
'Twas August, and the fierce sun overhead Smote on the squalid streets of Bethnal Green, And the pale weaver, through his window seen In Spitalfields, looked thrice dispirited. I met a preacher there I knew, and said: 'Ill and o'er-worked, how fare you in this scene?' 'Bravely!' said he, 'for I of late have been Much cheered with thoughts of Christ, the Living Bread!' O human soul! so long as thou canst so Set up a mark of everlasting light Above the howling senses' ebb and flow, To cheer thee and to right thee if thou roam, Not with lost toil thou laborest through the night! Thou mak'st the heaven thou hop'st indeed thy home.
(Matthew Arnold: East London. 1867.)
"Why?" Because all I haply can and do, All that I am now, all I hope to be,— Whence comes it save from fortune setting free Body and soul the purpose to pursue, God traced for both? If fetters, not a few, Of prejudice, convention, fall from me, These shall I bid men—each in his degree Also God-guided—bear, and gayly too? But little do or can the best of us: That little is achieved through Liberty. Who, then, dares hold, emancipated thus— His fellow shall continue bound? Not I. Who live, love, labor freely, nor discuss A brother's right to freedom. That is "Why."
(Browning: Why I am a Liberal. 1885.)
Browning's sonnets are few in number, mostly occasional, and none of them can be considered notable. For a study of them, see the article by Lentzner in Anglia, vol. xi. p. 500. Dr. Lentzner includes nine in his list, not all of which are included in Browning's collected poems. Three are so closely connected as practically to form a poem in three stanzas (appended to Jochanan Hakkadosh, 1883).
One saith: the whole world is a Comedy Played for the mirth of God upon his throne, Whereof the hidden meanings will be known When Michael's trumpet thrills through earth and sea. Fate is the dramaturge; Necessity Allots the parts; the scenes, by Nature shown, Embrace each element and every zone, Ordered with infinite variety.Another saith: no calm-eyed Sophocles Indites the tragedy of human doom, But some cold scornful Aristophanes, Whose zanies gape and gibber in thick gloom, While nightingales, shrill 'mid the shivering trees, Jar on the silence of the neighboring tomb.
(John Addington Symonds: from Sonnets on the Thought of Death. ab. 1880.)
Yon silvery billows breaking on the beach Fall back in foam beneath the star-shine clear, The while my rhymes are murmuring in your ear A restless lore like that the billows teach; For on these sonnet-waves my soul would reach From its own depths, and rest within you, dear, As, through the billowy voices yearning here, Great Nature strives to find a human speech. A sonnet is a wave of melody: From heaving waters of the impassioned soul A billow of tidal music one and whole Flows in the octave; then, returning free, Its ebbing surges in the sestet roll Back to the deeps of Life's tumultuous sea.
(Theodore Watts-Dunton: The Sonnet's Voice; a Metrical Lesson by the Sea-shore. Athenæum, Sept. 17, 1881.)
The "sonnet on the sonnet" has become so familiar in recent times that a volume of such sonnets has been compiled, and a writer of humorous verse has satirized the fashion in a "Sonnet on the Sonnet on the Sonnet." Doubtless the two specimens quoted from Wordsworth lead all others of the class; but the present specimen is an interesting attempt to represent the characteristic metrical expressiveness of the form.
Oft have I seen at some cathedral door A laborer, pausing in the dust and heat, Lay down his burden, and with reverent feet Enter, and cross himself, and on the floor Kneel to repeat his Paternoster o'er; Far off the noises of the world retreat; The loud vociferations of the street Become an undistinguishable roar. So, as I enter here from day to day, And leave my burden at this minster gate, Kneeling in prayer, and not ashamed to pray, The tumult of the time disconsolate To inarticulate murmurs dies away, While the eternal ages watch and wait.
(Longfellow: Sonnets on the Divina Commedia, i. 1864.)
Caliph, I did thee wrong. I hailed thee late "Abdul the Damned," and would recall my word. It merged thee with the unillustrious herd Who crowd the approaches to the infernal gate— Spirits gregarious, equal in their state As is the innumerable ocean bird, Gannet or gull, whose wandering plaint is heard On Ailsa or Iona desolate. For, in a world where cruel deeds abound, The merely damned are legion: with such souls Is not each hollow and cranny of Tophet crammed? Thou with the brightest of Hell's aureoles Dost shine supreme, incomparably crowned, Immortally, beyond all mortals, damned.
(William Watson: To the Sultan, in The Year of Shame. 1897.)
Mr. William Archer says of Mr. Watson's political sonnets, that the form becomes in his hands "a weapon like the sling of David. In the octave he whirls it round and round with ever-gathering momentum, and in the sestet sends his scorn or rebuke singing through the air, arrow-straight to its mark." (Poets of the Younger Generation, p. 503.)
B.—THE ENGLISH (SHAKSPERIAN) SONNET
From Tuskane came my Ladies worthy race: Faire Florence was sometyme her auncient seate: The Western yle, whose pleasaunt shore dothe face Wilde Cambers clifs, did geve her lively heate: Fostered she was with milke of Irishe brest: Her sire, an Erle; her dame, of princes blood. From tender yeres, in Britain she doth rest, With kinges childe, where she tasteth costly food. Honsdon did first present her to mine yien: Bright is her hewe, and Geraldine she hight. Hampton me taught to wishe her first for mine: And Windsor, alas, dothe chase me from her sight. Her beauty of kind, her vertues from above. Happy is he that can obtaine her love.
(Earl of Surrey: Description and praise of his love Geraldine. In Tottel's Songs and Sonnets, p. 9. Pub. 1557.)
Surrey experimented with the Italian sonnet as it had been introduced into England by his master Wyatt, but soon devised a variation from the Italian form, and wrote a majority of his sonnets in the new English form (nine out of the sixteen which are printed in Tottel's Miscellany). This new form is divided, not into octave and sestet, but into three quatrains, with alternate rime, and a couplet. It produces, therefore, an effect quite different from that of the legitimate Italian sonnet, the couplet at the end giving it a more epigrammatic structure. Surrey's form seems more consonant with common English taste for simplicity of rime-structure, and, besides being honored by its adoption by Shakspere, has remained a favorite side by side with the more "correct" original.[37]
Come, Sleep! O Sleep, the certain knot of peace, The baiting-place of wit, the balm of woe, The poor man's wealth, the prisoner's release, The indifferent judge between the high and low; With shield of proof shield me from out the press Of those fierce darts Despair at me doth throw. O make me in those civil wars to cease; I will good tribute pay, if thou do so. Take thou of me smooth pillows, sweetest bed, A chamber deaf of noise and blind of light, A rosy garland and a weary head: And if these things, as being thine in right, Move not thy heavy grace, thou shalt in me, Livelier than elsewhere, Stella's image see.
(Sidney: Astrophel and Stella, xxxix. ab. 1580.)
Care-charmer Sleep, son of the sable Night, Brother to Death, in silent darkness born, Relieve my languish, and restore the light; With dark forgetting of my care return. And let the day be time enough to mourn The shipwreck of my ill-adventured youth: Let waking eyes suffice to wail their scorn, Without the torment of the night's untruth. Cease, dreams, the images of day-desires, To model forth the passions of to-morrow; Never let rising Sun approve you liars, To add more grief to aggravate my sorrow: Still let me sleep, embracing clouds in vain, And never wake to feel the day's disdain.
(Samuel Daniel: Care-charmer Sleep. 1592.)
Daniel was one of the most skilful of the Elizabethans in the use of the English form of the sonnet. The greater number of his Sonnets to Delia are of this type. The subject of the present sonnet was a fashionable one in the sixteenth century (compare Sidney's, quoted above).
Since there's no help, come let us kiss and part,— Nay I have done, you get no more of me; And I am glad, yea, glad with all my heart, That thus so cleanly I myself can free; Shake hands for ever, cancel all our vows, And when we meet at any time again, Be it not seen in either of our brows That we one jot of former love retain. Now at the last gasp of love's latest breath, When, his pulse failing, passion speechless lies, When faith is kneeling by his bed of death, And innocence is closing up his eyes, —Now if thou would'st, when all have given him over, From death to life thou might'st him yet recover!
(Drayton: Love's Farewell. 1594.)
Rossetti called this sonnet "perhaps the best in the language." Drayton's sonnet-sequence, the Idea, follows the Shaksperian form; and the present specimen illustrates how the important division of this type of sonnet is between the quatrains and the final couplet.
One day I wrote her name upon the strand; But came the waves and washed it away: Again I wrote it with a second hand, But came the tide and made my pains his prey. Vain man! said she, that dost in vain essay A mortal thing so to immortalize; For I myself shall like to this decay, And eke my name be wiped out likewise. Not so (quoth I); let baser things devise To die in dust, but you shall live by fame; My verse your virtues rare shall eternize, And in the heavens write your glorious name,— Where, whenas death shall all the world subdue, Our love shall live, and later life renew.
(Spenser: Amoretti, lxxv. 1595.)
The sonnets in Spenser's collected poems number 177, of which fifty-six are in the common English (Surrey) form, the remainder—like the present specimen—riming ababbcbccdcdee. This order of rimes reminds us of that in the Spenserian stanza, and must have been devised by Spenser at about the same time. It has never been adopted by other poets.
When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate; Wishing me like to one more rich in hope, Featured like him, like him with friends possest, Desiring this man's art, and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee—and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings.
(Shakspere: Sonnet xxix. 1609.)
That time of year thou may'st in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang: In me thou see'st the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self, that seals up all in rest: In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the death-bed whereon it must expire, Consum'd with that which it was nourish'd by: —This thou perceiv'st, which makes thy love more strong, To love that well which thou must leave ere long.
(Shakspere: Sonnet lxxiii. 1609.)
These two specimens, perhaps the favorites of as many readers as any which could be chosen, must serve to represent the sonnets of Shakspere. The whole number of these is 154, and all are in the English form. Slight irregularities in the rime-scheme will be found in about fifteen. Number 99 has fifteen lines and 126 (sometimes called the Epilogue to the first part of the series) has only twelve. Number 20 is wholly based on feminine rimes.[38]
Lord, with what care hast Thou begirt us round! Parents first season us; then schoolmasters Deliver us to laws; they send us bound To rules of reason, holy messengers, Pulpits and Sundays, sorrow dogging sin, Afflictions sorted, anguish of all sizes, Fine nets and stratagems to catch us in, Bibles laid open, millions of surprises, Blessings beforehand, ties of gratefulness, The sound of glory ringing in our ears; Without, our shame; within, our consciences; Angels and grace, eternal hopes and fears. Yet all these fences and their whole array One cunning bosom-sin blows quite away.
(George Herbert: Sin. 1631.)
In vain to me the smiling mornings shine, And reddening Phœbus lifts his golden fire; The birds in vain their amorous descant join, Or cheerful fields resume their green attire. These ears, alas! for other notes repine, A different object do these eyes require; My lonely anguish melts no heart but mine, And in my breast the imperfect joys expire. Yet morning smiles the busy race to cheer, And new-born pleasure brings to happier men; The fields to all their wonted tribute bear; To warm their little loves the birds complain; I fruitless mourn to him that cannot hear, And weep the more because I weep in vain.
(Gray: On the Death of Richard West. 1742.)
On the place of this sonnet in the eighteenth century, see p. 277, above.
Oh it is pleasant, with a heart at ease, Just after sunset, or by moonlight skies, To make the shifting clouds be what you please, Or let the easily-persuaded eyes Own each quaint likeness issuing from the mould Of a friend's fancy; or, with head bent low And cheek aslant, see rivers flow of gold 'Twixt crimson bank; and then, a traveler, go From mount to mount through Cloudland, gorgeous land! Or listening to the tide, with closed sight, Be that blind bard who, on the Chian strand By those deep sounds possessed with inward light, Beheld the Iliad and the Odyssee Rise to the swelling of the voiceful sea.
(Coleridge: Fancy in Nubibus. 1819.)
The sonnets of Coleridge, as has already been noted, were written under the influence of those of Bowles, and are not of the Italian type. He defined the sonnet as "a short poem in which some lonely feeling is developed," thus emphasizing, like Wordsworth, the idea of unity rather than of progressive structure.
Darkly, as by some gloomed mirror glassed, Herein at times the brooding eye beholds The great scarred visage of the pompous Past, But oftener only the embroidered folds And soiled regality of his rent robe, Whose tattered skirts are ruined dynasties And cumber with their trailing pride the globe, And sweep the dusty ages in our eyes; Till the world seems a world of husks and bones Where sightless Seers and Immortals dead, Kings that remember not their awful thrones, Invincible armies long since vanquished, And powerless potentates and foolish sages Lie 'mid the crumbling of the mossy ages.
(William Watson: History.)
FOOTNOTES:
V. THE ODE
The term Ode is used of English poetry with considerable vagueness. The Century Dictionary defines the word thus: "A lyric poem expressive of exalted or enthusiastic emotion, especially one of complex or irregular metrical form; originally and strictly, such a composition intended to be sung." Compare with this the definition of Mr. Gosse, in his collection of English Odes: "Any strain of enthusiastic and exalted lyrical verse, directed to a fixed purpose, and dealing progressively with one dignified theme."
Viewed from the purely metrical standpoint, English odes are commonly either (a) regular Pindaric odes, imitative of the structure of the Greek ode, or (b) irregular, so-called "Pindaric" or "Cowleyan" odes. A third group may be made of forms based on the imitation of the choral odes of the Greek drama. There is also a class of odes called "Horatian," made up of simple lyrical stanzas; the name "ode" is applied here only because of the content of the poem or because of resemblance to the so-called odes (properly carmina or songs) of Horace, and since these Horatian odes show no metrical peculiarities they will not be represented here.[39]
The characteristic effect of the ode is produced by the varying lengths of lines employed, and the varying distances at which the rimes answer one another. This variety, in the hands of a master of verse, is capable of splendid effectiveness, but it gives dangerous license to the unskilled writer.
A.—REGULAR PINDARIC
III.1 The Strophe, or Turn It is not growing like a tree In bulk, doth make men better be; Or standing long an oak, three hundred year, To fall a log at last, dry, bald, and sear: A lily of a day Is fairer far, in May, Although it fall and die that night; It was the plant of flower and light. In small proportions we just beauties see; And in short measures life may perfect be. III.2 The Antistrophe, or Counter-turn Call, noble Lucius, then for wine, And let thy looks with gladness shine; Accept this garland, plant it on thy head, And think, nay know, thy Morison's not dead. He leap'd the present age, Possess'd with holy rage, To see that bright eternal day; Of which we priests and poets say Such truths as we expect for happy men: And there he lives with memory, and Ben. III.3 The Epode, or Stand Jonson, who sung this of him, ere he went, Himself, to rest, Or taste a part of that full joy he meant To have express'd, In this bright asterism!— Where it were friendship's schism, Were not his Lucius long with us to tarry, To separate these twi- Lights, the Dioscuri; And keep the one half from his Harry. But fate doth so alternate the design, Whilst that in heaven, this light on earth must shine.
(Ben Jonson: A Pindaric Ode on the death of Sir H. Morison. 1629.)
This ode of Jonson's is apparently the earliest, and remained for a long time the only, notable English ode based on the strict structure of the Greek original. The Greek ode was commonly divided into the strophe, the antistrophe, and the epode; the strophe and antistrophe being identical in structure, though varying in different odes, and the epode being of different structure. Jonson therefore followed the classical form carefully, and introduced English terms to express the original three divisions.
Professor Bronson observes, in his Introduction to the Odes of Collins: "It is a commonplace that the Pindaric Ode in English is an artificial exotic, of slight native force, and unable to reproduce the effects of the Greek original. The reason is obvious. The Greek odes were accompanied by music and dancing, the singers moving to one side during the strophe, retracing their steps during the antistrophe, ... and standing still during the epode. The ear was thus helped by the eye, and the divisions of the ode were distinct and significant. But in an English Pindaric the elaborate correspondences and differences between strophe, antistrophe, and epode are lost upon most readers, and even the critical reader derives from them a pleasure intellectual rather than sensuous." (Edition of Collins, Athenæum Press Series, Introduction, pp. lxxiv, lxxv.)
I1 Daughter of Memory, immortal Muse, Calliope, what poet wilt thou choose, Of Anna's name to sing? To whom wilt thou thy fire impart, Thy lyre, thy voice, and tuneful art, Whom raise sublime on thy ethereal wing, And consecrate with dews of thy Castalian spring? I2 Without thy aid, the most aspiring mind Must flag beneath, to narrow flights confin'd, Striving to rise in vain; Nor e'er can hope with equal lays To celebrate bright Virtue's praise. Thine aid obtain'd, even I, the humblest swain, May climb Pierian heights, and quit the lowly plain. I3 High in the starry orb is hung, And next Alcides' guardian arm, That harp to which thy Orpheus sung, Who woods and rocks and winds could charm; That harp which on Cyllene's shady hill, When first the vocal shell was found, With more than mortal skill Inventor Hermes taught to sound: Hermes on bright Latona's son, By sweet persuasion won, The wondrous work bestow'd; Latona's son, to thine Indulgent, gave the gift divine: A god the gift, a god th' invention show'd.
(Congreve: A Pindaric Ode on the victorious progress of her Majesty's Arms. 1706.)
To Congreve is due the credit for the revival of the regular ode in the eighteenth century, after it had been long forgotten by English poets. Meantime the irregular form, devised by Cowley, had become popular; and against the license of this Congreve protested in his Discourse on the Pindaric Ode, prefixed to his Ode of 1706. (See Mr. Gosse's Introduction to English Odes, p. xvii., and his Life of Congreve, p. 158.)
Congreve said in his Discourse: "The following ode is an attempt towards restoring the regularity of the ancient lyric poetry, which seems to be altogether forgotten, or unknown, by our English writers. There is nothing more frequent among us than a sort of poems entitled Pindaric Odes, pretending to be written in imitation of the manner and style of Pindar, and yet I do not know that there is to this day extant, in our language, one ode contrived after his model.... The character of these late Pindarics is a bundle of rambling incoherent thoughts, expressed in a like parcel of irregular stanzas, which also consist of such another complication of disproportioned, uncertain, and perplexed verses and rhymes.... On the contrary, there is nothing more regular than the odes of Pindar, both as to the exact observation of the measures and numbers of his stanzas and verses, and the perpetual coherence of his thoughts....
"Though there be no necessity that our triumphal odes should consist of the three afore-mentioned stanzas, yet if the reader can observe that the great variation of the numbers in the third stanza (call it epode, or what you please) has a pleasing effect in the ode, and makes him return to the first and second stanzas with more appetite than he could do if always cloyed with the same quantities and measures, I cannot see why some use may not be made of Pindar's example, to the great improvement of the English ode. There is certainly a pleasure in beholding anything that has art and difficulty in the contrivance, especially if it appears so carefully executed that the difficulty does not show itself till it is sought for....
"Having mentioned Mr. Cowley, it may very well be expected that something should be said of him, at a time when the imitation of Pindar is the theme of our discourse. But there is that great deference due to the memory, great parts, and learning, of that gentleman, that I think nothing should be objected to the latitude he has taken in his Pindaric odes. The beauty of his verses is an atonement for the irregularity of his stanzas.... Yet I must beg leave to add that I believe those irregular odes of Mr. Cowley may have been the principal, though innocent, occasion of so many deformed poems since, which, instead of being true pictures of Pindar, have (to use the Italian painters' term) been only caricatures of him."
(Discourse on the Pindaric Ode, in Chalmers's English Poets, vol. x. p. 300.)
Who shall awake the Spartan fife, And call in solemn sounds to life The youths whose locks divinely spreading, Like vernal hyacinths in sullen hue, At once the breath of fear and virtue shedding, Applauding Freedom lov'd of old to view? What new Alcæus, fancy-blest, Shall sing the sword, in myrtles drest, At Wisdom's shrine awhile its flame concealing (What place so fit to seal a deed renowned?), Till she her brightest lightnings round revealing, It leap'd in glory forth, and dealt her prompted wound? O goddess, in that feeling hour, When most its sounds would court thy ears, Let not my shell's misguided power E'er draw thy sad, thy mindful tears. No, Freedom, no, I will not tell How Rome before thy weeping face, With heaviest sound, a giant statue, fell, Push'd by a wild and artless race From off its wide ambitious base, When Time his Northern sons of spoil awoke, And all the blended work of strength and grace, With many a rude repeated stroke, And many a barb'rous yell, to thousand fragments broke.... Beyond the measure vast of thought, The works the wizard Time has wrought! The Gaul, 'tis held of antique story, Saw Britain link'd to his now adverse strand; No sea between, nor cliff sublime and hoary, He pass'd with unwet feet thro' all our land. To the blown Baltic then, they say, The wild waves found another way, Where Orcas howls, his wolfish mountains rounding; Till all the banded West at once 'gan rise, A wide wild storm ev'n Nature's self confounding, With'ring her giant sons with strange uncouth surprise. This pillar'd earth so firm and wide, By winds and inward labors torn, In thunders dread was push'd aside, And down the should'ring billows borne. And see, like gems, her laughing train, The little isles on every side! Mona, once hid from those who search the main, Where thousand elfin shapes abide, And Wight, who checks the west'ring tide; For thee consenting Heaven has each bestowed, A fair attendant on her sovereign pride. To thee this blest divorce she ow'd, For thou hast made her vales thy lov'd, thy last abode!
(Collins: Ode to Liberty, strophe and antistrophe. 1746.)
This ode consists of strophe, epode, antistrophe, and second epode. The antistrophe corresponds metrically to the strophe, as usual; the epodes are in four-stress couplets. It was Collins's habit to place the epode between the strophe and antistrophe, perhaps, as Professor Bronson suggests, in order that it may produce "an impression of its own analogous to that of the Greek epode, namely, an impression of relief and repose." Mr. Bronson says further of Collins's odes: "Collins was less scholarly than Gray, but he was bolder and more original; and consciously or unconsciously he so constructed his odes that their organic parts stand out clearly distinct and produce effects analogous to those produced by the Greek ode. In brief, his method was, first, to make large divisions of the thought correspond to the large divisions of the form; and, second, to throw out into relief the complex strophe and antistrophe by contrasting them with a simple epode. The reader may not perceive the minute correspondences in form between strophe and antistrophe, but he can hardly fail to feel that the two answer to one another in a general way." (Athenæum Press edition of Collins, Introduction, p. lxxv.)
III1 Far from the sun and summer-gale, In thy green lap was Nature's Darling laid, What time, where lucid Avon strayed, To him the mighty Mother did unveil Her awful face. The dauntless Child Stretched forth his little arms, and smiled. This pencil take (she said) whose colors clear Richly paint the vernal year; Thine too these golden keys, immortal Boy! This can unlock the gates of Joy, Of Horror that, and thrilling Fears, Or ope the sacred source of sympathetic Tears. III2 Nor second he, that rode sublime Upon the seraph-wings of Ecstasy, The secrets of th' Abyss to spy, He pass'd the flaming bounds of Place and Time; The living Throne, the sapphire-blaze, Where Angels tremble while they gaze, He saw; but, blasted with excess of light, Clos'd his eyes in endless night. Behold, where Dryden's less presumptuous car Wide o'er the fields of glory bear Two coursers of ethereal race, With necks in thunder cloth'd, and long-resounding pace. III3 Hark, his hands the lyre explore! Bright-eyed Fancy hovering o'er Scatters from her pictured urn Thoughts that breathe, and words that burn. But ah! 'tis heard no more— Oh! Lyre divine, what daring spirit Wakes thee now? tho' he inherit Nor the pride, nor ample pinion, That the Theban Eagle bear Sailing with supreme dominion Thro' the azure deep of air; Yet oft before his infant eyes would run Such forms as glitter in the Muse's ray With orient hues, unborrow'd of the sun; Yet shall he mount, and keep his distant way Beyond the limits of a vulgar fate, Beneath the good how far—but far above the great.
(Gray: The Progress of Poesy. 1757.)
Gray's Progress of Poesy is probably to be regarded as the chief of all English odes of the regular Pindaric form. Mr. Lowell said, indeed, that it "overflies all other English lyrics like an eagle." The Bard is in precisely the same form, and shows the same skill in the wielding of the intricately varying melodies of the lines of different length.
B.—IRREGULAR (COWLEYAN)
Whom thunder's dismal noise, And all that Prophets and Apostles louder spake, And all the creatures' plain conspiring voice, Could not, whilst they liv'd, awake, This mightier sound shall make When dead t' arise, And open tombs, and open eyes, To the long sluggards of five thousand years. This mightier sound shall wake its hearers' ears. Then shall the scatter'd atoms crowding come Back to their ancient home. Some from birds, from fishes some, Some from earth, and some from seas, Some from beasts, and some from trees. Some descend from clouds on high, Some from metals upwards fly, And where th' attending soul naked and shivering stands, Meet, salute, and join their hands, As dispers'd soldiers at the trumpet's call Haste to their colors all. Unhappy most, like tortur'd men, Their joints new set, to be new-rack'd again, To mountains they for shelter pray; The mountains shake, and run about no less confus'd than they. Stop, stop, my Muse! allay thy vig'rous heat, Kindled at a hint so great. Hold thy Pindaric Pegasus closely in, Which does to rage begin, And this steep hill would gallop up with violent course; 'Tis an unruly and a hard-mouth'd horse, Fierce, and unbroken yet, Impatient of the spur or bit; Now prances stately, and anon flies o'er the place; Disdains the servile law of any settled pace; Conscious and proud of his own natural force, 'Twill no unskilful touch endure, But flings writer and reader too that sits not sure.
(Cowley: The Resurrection, strophes iii. and iv. 1656).
Cowley, as has already appeared, introduced the irregular ode into English poetry, calling it "Pindaric" under a misapprehension of the real structure of the Greek odes. He published fifteen "Pindarique Odes" in 1656 (see the Preface to these, in Grosart's edition of his works, vol. ii. p. 4). The present specimen illustrates the really not unskilful use which Cowley made of the varying cadences of the form, and also sets forth—in the amusing concluding lines—his own idea of its difficulties.
Under the influence of Cowley's odes, the new form speedily became popular. According to Dr. Johnson, "this lax and lawless versification so much concealed the deficiencies of the barren, and flattered the laziness of the idle, that it immediately over-spread our books of poetry; all the boys and girls caught the pleasing fashion, and they who could do nothing else could write like Pindar." (Life of Cowley.) Compare also the remarks of Mr. Gosse: "Until the days of Collins and Gray, the ode modelled upon Cowley was not only the universal medium for congratulatory lyrics and pompous occasional pieces, but it was almost the only variety permitted to the melancholy generations over whom the heroic couplet reigned supreme." (Seventeenth Century Studies, p. 216.)
It has been the habit of modern critics to treat the irregularities of the Cowleyan ode with no little contempt, and it is undoubtedly true that in the hands of small poets its liberties are dangerous; but it is also true that some of the greatest modern poets have adopted the form for some of their best work, and that they have generally preferred it to that of the regular Pindaric ode.
When in mid-air the golden trump shall sound, To raise the nations under ground; When in the valley of Jehoshaphat The judging God shall close the book of Fate, And there the last assizes keep For those who wake and those who sleep; When rattling bones together fly From the four corners of the sky; When sinews o'er the skeletons are spread, Those cloth'd with flesh, and life inspires the dead; The sacred poets first shall hear the sound, And foremost from the tomb shall bound, For they are covered with the lightest ground; And straight, with inborn vigor, on the wing, Like mounting larks, to the new morning sing. There thou, sweet saint, before the choir shalt go, As harbinger of heaven, the way to show, The way which thou so well hast learn'd below.
(Dryden: To the Pious Memory of Mistress Anne Killigrew, strophe x. 1686.)
See also specimen from the Ode for St. Cecilia's Day, quoted above, p. 52.
Dryden's odes for St. Cecilia's Day (especially the Alexander's Feast) are among the most highly esteemed of his poems; but parts, at least, of the ode on Mistress Killigrew are no less fine, and in this case we have a purely literary ode, whose irregularities are not designed—as in the case of the others—to fit choral rendering. The conclusion of the ode, here quoted, seems to owe something of both substance and form to the conclusion of Cowley's Resurrection Ode (see preceding specimen). Dr. Johnson called Dryden's Killigrew Ode "undoubtedly the noblest ode that our language ever has produced."
Last came Joy's ecstatic trial. He, with viny crown advancing, First to the lively pipe his hand addrest; But soon he saw the brisk awak'ning viol, Whose sweet entrancing voice he loved the best. They would have thought, who heard the strain, They saw in Tempe's vale her native maids, Amidst the festal sounding shades, To some unwearied minstrel dancing, While, as his flying fingers kiss'd the strings, Love fram'd with Mirth a gay fantastic round; Loose were her tresses seen, her zone unbound, And he, amidst his frolic play, As if he would the charming air repay, Shook thousand odors from his dewy wings.
(Collins: The Passions. 1746.)
I marked Ambition in his war-array! I heard the mailed Monarch's troublous cry— "Ah! wherefore does the Northern Conqueress stay! Groans not her chariot on its onward way?" Fly, mailed Monarch, fly! Stunned by Death's twice mortal mace, No more on murder's lurid face The insatiate hag shall gloat with drunken eye! Manes of the unnumbered slain! Ye that gasped on Warsaw's plain! Ye that erst at Ismail's tower, When human ruin choked the streams, Fell in conquest's glutted hour, Mid women's shrieks and infants' screams! Spirits of the uncoffined slain, Sudden blasts of triumph swelling, Oft, at night, in misty train, Rush around her narrow dwelling! The exterminating fiend is fled— (Foul her life, and dark her doom)— Mighty armies of the dead Dance, like death-fires, round her tomb! Then with prophetic song relate Each some tyrant-murderer's fate!
(Coleridge: Ode on the Departing Year, strophe iii. 1796.)
This ode was evidently intended to be in the regular Pindaric form, and was divided into strophes, antistrophes, and epodes; but it soon broke into irregularity. On Coleridge's odes see some remarks by Mr. Theodore Watts in the article on Poetry in the Encyclopædia Britannica.
Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar: Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home. Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing boy, But he beholds the light, and whence it flows, He sees it in his joy; The youth, who daily farther from the east Must travel, still is Nature's priest, And by the vision splendid Is on his way attended; At length the man perceives it die away, And fade into the light of common day.... O joy! that in our embers Is something that doth live, That nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benediction: not indeed For that which is most worthy to be blest; Delight and liberty, the simple creed Of childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:— Not for these I raise The song of thanks and praise; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a creature Moving about in worlds not realized, High instincts before which our mortal nature Did tremble like a guilty thing surprised: But for those first affections, Those shadowy recollections, Which, be they what they may, Are yet the fountain light of all our day, Are yet a master light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal Silence: truths that wake To perish never; Which neither listlessness, nor mad endeavor, Nor man nor boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence in a season of calm weather, Though inland far we be, Our souls have sight of that immortal sea Which brought us hither, Can in a moment travel thither, And see the children sport upon the shore, And hear the mighty waters rolling evermore.
(Wordsworth: Intimations of Immortality, strophes v. and ix. 1807.)
In this poem the English ode may be said to have reached its high-water mark. Professor Corson observes: "The several metres are felt, in the course of the reading of the Ode, to be organic—inseparable from what each is employed to express. The rhymes, too, with their varying degrees of emphasis, according to the nearness or remoteness, and the length, of the rhyming verses, are equally a part of the expression.... The feelings of the reader of English poetry get to be set, so to speak, to the pentameter measure, as in that measure the largest portion of English poetry is written; and, accordingly, other measures derive some effect from that fact. In the theme-metre, generally, the more reflective portions of the Ode, its deeper tones, are expressed. The gladder notes come in the shorter metres.... Wordsworth never wrote any poem of which it can be more truly said than of his great Ode, 'Of the soul the body form doth take.'" (Primer of English Verse, pp. 32-34.)
Then gentle winds arose With many a mingled close Of wild Æolian sound and mountain-odor keen; And where the Baian ocean Welters with airlike motion, Within, above, around its bowers of starry green, Moving the sea-flowers in those purple caves Even as the ever stormless atmosphere Floats o'er the Elysian realm, It bore me like an Angel, o'er the waves Of sunlight, whose swift pinnace of dewy air No storm can overwhelm; I sailed, where ever flows Under the calm Serene A spirit of deep emotion From the unknown graves Of the dead kings of Melody. Shadowy Aornos darkened o'er the helm The horizontal ether; heaven stripped bare Its depths over Elysium, where the prow Made the invisible water white as snow; From that Typhæan mount, Inarime, There streamed a sunlight vapor, like the standard Of some ethereal host; Whilst from the coast, Louder and louder, gathering round, there wandered Over the oracular woods and divine sea Prophesyings which grew articulate— They seize me—I must speak them—be they fate!
(Shelley: Ode to Naples, strophe ii. 1819.)
Bury the Great Duke With an empire's lamentation, Let us bury the Great Duke To the noise of the mourning of a mighty nation, Mourning when their leaders fall, Warriors carry the warrior's pall, And sorrow darkens hamlet and hall. Where shall we lay the man whom we deplore? Here, in streaming London's central roar. Let the sound of those he wrought for, And the feet of those he fought for, Echo round his bones for evermore. Lead out the pageant: sad and slow, As fits an universal woe, Let the long long procession go, And let the sorrowing crowd about it grow, And let the mournful martial music blow; The last great Englishman is low.... ... We revere, and while we hear The tides of Music's golden sea Setting toward eternity, Uplifted high in heart and hope are we, Until we doubt not that for one so true There must be other nobler work to do Than when he fought at Waterloo, And Victor he must ever be. For though the Giant Ages heave the hill And break the shore, and evermore Make and break, and work their will; Though world on world in myriad myriads roll Round us, each with different powers, And other forms of life than ours, What know we greater than the soul? On God and Godlike men we build our trust. Hush, the Dead March wails in the people's ears: The dark crowd moves, and there are sobs and tears: The black earth yawns: the mortal disappears; Ashes to ashes, dust to dust; He is gone who seemed so great.— Gone; but nothing can bereave him Of the force he made his own Being here, and we believe him Something far advanced in state, And that he wears a truer crown Than any wreath that man can weave him. Speak no more of his renown, Lay your earthly fancies down, And in the vast cathedral leave him. God accept him, Christ receive him.
(Tennyson: On the Death of the Duke of Wellington, strophes i, ii, iii, ix (in part). 1852.)
This ode of Tennyson's is one of the few poems in which he gave himself such liberty of form (compare some of the irregular measures of Maud). It shows his usual skill in the adaptation of metrical effects to the purposes of description. Dr. Henry Van Dyke has suggested that the varying—almost lawless—movements of the opening lines are designed to suggest the surging of the crowd through the streets of London, before the entrance into the cathedral for the funeral.
Bow down, dear Land, for thou hast found release! Thy God, in these distempered days, Hath taught thee the sure wisdom of His ways, And through thine enemies hath wrought thy peace! Bow down in prayer and praise! No poorest in thy borders but may now Lift to the juster skies a man's enfranchised brow. O Beautiful! my Country! ours once more, Smoothing thy gold of war-dishevelled hair O'er such sweet brows as never other wore, And letting thy set lips, Freed from wrath's pale eclipse, The rosy edges of their smile lay bare, What words divine of lover or of poet Could tell our love and make thee know it, Among the Nations bright beyond compare? What were our lives without thee? What all our lives to save thee? We reck not what we gave thee; We will not dare to doubt thee. But ask whatever else, and we will dare!
(Lowell: Harvard Commemoration Ode, strophe xii. 1865.)
This is undoubtedly the finest of odes by American poets, and remains one of the glories of new-world poetry. Its irregular measures were designed by Mr. Lowell to fit the poem for public reading (see his letter to Mr. Gosse on the subject, quoted in the Appendix to Gosse's Seventeenth Century Studies).
In the Year of the great Crime, When the false English nobles and their Jew, By God demented, slew The Trust they stood thrice pledged to keep from wrong, One said, Take up thy Song, That breathes the mild and almost mythic time Of England's prime! But I, Ah, me, The freedom of the few That, in our free Land, were indeed the free, Can song renew? Ill singing 'tis with blotting prison-bars, How high soe'er, betwixt us and the stars; Ill singing 'tis when there are none to hear; And days are near When England shall forget The fading glow which, for a little while, Illumes her yet, The lovely smile That grows so faint and wan, Her people shouting in her dying ear: Are not jays twain worth two of any swan! Harsh words and brief asks the dishonor'd Year.
(Coventry Patmore: Ode ix. Printed 1868.)
Mr. Patmore's use of the irregular ode forms is of particular interest. He made a special study of the form, and applied it more widely than is commonly done. His first odes were printed (not published) in 1868, and from one of these the present specimen is taken. Later (1877), in connection with The Unknown Eros, he set forth his view of the ode form, treating it not as lawless but as governed by laws of its own. "Nearly all English metres," he said, "owe their existence as metres to 'catalexis,' or pause, for the time of one or more feet, and, as a rule, the position and amount of catalexis, are fixed. But the verse in which this volume is written is catalectic par excellence, employing the pause (as it does the rhyme) with freedom only limited by the exigencies of poetic passion. From the time of Drummond of Hawthornden to our own, some of the noblest flights of English poetry have been taken on the wings of this verse; but with ordinary readers it has been more or less discredited by the far greater number of abortive efforts, on the part sometimes of considerable poets, to adapt it to purposes with which it has no expressional correspondence; or to vary it by rhythmical movements which are destructive of its character. Some persons, unlearned in the subject of this metre, have objected to this kind of verse that it is 'lawless.' But it has its laws as truly as any other. In its highest order, the lyric or 'ode,' it is a tetrameter, the line having the time of eight iambics. When it descends to narrative, or the expression of a less exalted strain of thought, it becomes a trimeter, having the time of six iambics, or even a dimeter, with the time of four; and it is allowable to vary the tetrameter 'ode' by the occasional introduction of passages in either or both of these inferior measures, but not, I think, by the use of any other. The license to rhyme at indefinite intervals is counterbalanced ... by unusual frequency in the recurrence of the same rhyme." (From Patmore's Prefatory Note to The Unknown Eros; quoted by William Sharp, in the Introduction to Great Odes, p. xxxii.)[40]
On the shores of a Continent cast, She won the inviolate soil By loss of heirdom of all the Past, And faith in the royal right of Toil! She planted homes on the savage sod: Into the wilderness lone She walked with fearless feet, In her hand the divining-rod, Till the veins of the mountains beat With fire of metal and force of stone! She set the speed of the river-head To turn the mills of her bread; She drove her ploughshare deep Through the prairie's thousand-centuried sleep. To the South, and West, and North, She called Pathfinder forth, Her faithful and sole companion Where the flushed Sierra, snow-starred, Her way to the sunset barred, And the nameless rivers in thunder and foam Channeled the terrible canyon! Nor paused, till her uttermost home Was built, in the smile of a softer sky And the glory of beauty yet to be, Where the haunted waves of Asia die On the strand of the world-wide sea.
(Bayard Taylor: National Ode, strophe iii. 1876.)
Soon shall the Cape Ann children shout in glee, Spying the arbutus, spring's dear recluse; Hill lads at dawn shall hearken the wild goose Go honking northward over Tennessee; West from Oswego to Sault Sainte-Marie, And on to where the Pictured Rocks are hung, And yonder where, gigantic, willful, young, Chicago sitteth at the northwest gates, With restless violent hands and casual tongue Moulding her mighty fates, The Lakes shall robe them in ethereal sheen; And like a larger sea, the vital green Of springing wheat shall vastly be outflung Over Dakota and the prairie states. By desert people immemorial On Arizonan mesas shall be done Dim rites unto the thunder and the sun; Nor shall the primal gods lack sacrifice More splendid, when the white Sierras call Unto the Rockies straightway to arise And dance before the unveiled ark of the year, Sounding their windy cedars as for shawms, Unrolling rivers clear For flutter of broad phylacteries; While Shasta signals to Alaskan seas That watch old sluggish glaciers downward creep To fling their icebergs thundering from the steep, And Mariposa through the purple calms Gazes at far Hawaii crowned with palms Where East and West are met,— A rich seal on the ocean's bosom set To say that East and West are twain, With different loss and gain: The Lord hath sundered them; let them be sundered yet.... ... Ah no! We have not fallen so, We are our fathers' sons: let those who lead us know! 'Twas only yesterday sick Cuba's cry Came up the tropic wind, 'Now help us, for we die!' Then Alabama heard, And rising, pale, to Maine and Idaho Shouted a burning word. Proud state with proud impassioned state conferred, And at the lifting of a hand sprang forth, East, west, and south, and north, Beautiful armies. Oh, by the sweet blood and young, Shed on the awful hill slope at San Juan, By the unforgotten names of eager boys Who might have tasted girls' love and been stung With the old mystic joys And starry griefs, now the spring nights come on, But that the heart of youth is generous,— We charge you, ye who lead us, Breathe on their chivalry no hint of stain! Turn not their new-world victories to gain! One least leaf plucked for chaffer from the bays Of their dear praise, One jot of their pure conquest put to hire, The implacable republic will require.
(William Vaughn Moody: An Ode in Time of Hesitation, strophes iii. and ix. 1900.)
C.—CHORAL
Different from either of the two classes of odes already represented are the irregular choral measures used by a few English poets in translation or imitation of the odes of the Greek drama.
Chorus. O dearly bought revenge, yet glorious! Living or dying thou hast fulfilled The work for which thou wast foretold To Israel, and now liest victorious Among thy slain self-killed; Not willingly, but tangled in the fold Of dire Necessity, whose law in death conjoined Thee with thy slaughtered foes, in number more Than all thy life had slain before. Semi-chorus. While their hearts were jocund and sublime, Drunk with idolatry, drunk with wine And fat regorged of bulls and goats, Chaunting their idol, and preferring Before our living Dread, who dwells In Silo, his bright sanctuary, Among them he a spirit of phrenzy sent, Who hurt their minds, And urged them on with mad desire To call in haste for their destroyer. They, only set on sport and play, Unweetingly importuned Their own destruction to come speedy upon them. So fond are mortal men, Fallen into wrath divine, As their own ruin on themselves to invite, Insensate left, or to sense reprobate, And with blindness internal struck. Semi-chorus. But he, though blind of sight, Despised, and thought extinguished quite, With inward eyes illuminated, His fiery virtue roused From under ashes into sudden flame, And as an evening dragon came, Assailant on the perched roosts And nests in order ranged Of tame villatic fowl, but as an eagle His cloudless thunder bolted on their heads. So Virtue, given for lost, Depressed and overthrown, as seemed, Like that self-begotten bird In the Arabian woods embost, That no second knows nor third, And lay erewhile a holocaust, From out her ashy womb now teemed, Revives, reflourishes, then vigorous most When most unactive deemed; And, though her body die, her fame survives, A secular bird, ages of lives.
(Milton: Samson Agonistes, ll. 1660-1707. 1671.)
Of this passage Mr. Swinburne says: "It is hard to realize and hopeless to reproduce the musical force of classic metres so recondite and exquisite as the choral parts of a Greek play. Even Milton could not; though with his godlike instinct and his godlike might of hand he made a kind of strange and enormous harmony by intermixture of assonance and rhyme with irregular blank verse, as in that last Titanic chorus of Samson which utters over the fallen Philistines the trumpet-blast and thunder of its triumphs." (Essays and Studies, pp. 162, 163.)
The lyre's voice is lovely everywhere; In the court of gods, in the city of men, And in the lonely rock-strewn mountain-glen, In the still mountain air. Only to Typho it sounds hatefully,— To Typho only, the rebel o'erthrown, Through whose heart Etna drives her roots of stone, To embed them in the sea. Wherefore dost thou groan so loud? Wherefore do thy nostrils flash, Through the dark night, suddenly, Typho, such red jets of flame? Is thy tortured heart still proud? Is thy fire-scathed arm still rash? Still alert thy stone-crushed frame? Doth thy fierce soul still deplore Thine ancient rout by the Cilician hills, And that curst treachery on the Mount of Gore? Do thy bloodshot eyes still weep The fight which crowned thine ills, Thy last mischance on this Sicilian deep? Hast thou sworn, in thy sad lair, Where erst the strong sea-currents sucked thee down, Never to cease to writhe, and try to rest, Letting the sea-stream wander through thy hair? That thy groans, like thunder prest, Begin to roll, and almost drown The sweet notes whose lulling spell Gods and the race of mortals love so well, When through thy caves thou hearest music swell? But an awful pleasure bland Spreading o'er the Thunderer's face, When the sound climbs near his seat, The Olympian council sees; As he lets his lax right hand, Which the lightnings doth embrace, Sink upon his mighty knees. And the eagle, at the beck Of the appeasing, gracious harmony, Droops all his sheeny, brown, deep-feathered neck, Nestling nearer to Jove's feet; While o'er his sovran eye The curtains of the blue films slowly meet. And the white Olympus-peaks Rosily brighten, and the soothed gods smile At one another from their golden chairs, And no one round the charmed circle speaks. Only the loved Hebe bears The cup about, whose draughts beguile Pain and care, with a dark store Of fresh-pulled violets wreathed and nodding o'er; And her flushed feet glow on the marble floor.
(Matthew Arnold: Empedocles on Etna, Act II. Song of Callicles. 1853.)
Wherefore to me, this fear— Groundedly stationed here Fronting my heart, the portent-watcher—flits she? Wherefore should prophet-play The uncalled and unpaid lay, Nor—having spat forth fear, like bad dreams—sits she On the mind's throne beloved—well-suasive Boldness? For time, since, by a throw of all the hands, The boat's stern-cables touched the sands, Has passed from youth to oldness,— When under Ilion rushed the ship-borne bands. And from my eyes I learn— Being myself my witness—their return. Yet, all the same, without a lyre, my soul, Itself its teacher too, chants from within Erinus' dirge, not having now the whole Of Hope's dear boldness: nor my inwards sin— The heart that's rolled in whirls against the mind Justly presageful of a fate behind. But I pray—things false, from my hope, may fall Into the fate that's not-fulfilled-at-all! Especially at least, of health that's great The term's insatiable: for, its weight —A neighbor, with a common wall between— Ever will sickness lean; And destiny, her course pursuing straight, Has struck man's ship against a reef unseen. Now, when a portion, rather than the treasure Fear casts from sling, with peril in right measure, It has not sunk—the universal freight, (With misery freighted over-full,) Nor has fear whelmed the hull. Then too the gift of Zeus, Two-handedly profuse, Even from the furrows' yield for yearly use Has done away with famine, the disease; But blood of man to earth once falling,—deadly, black,— In times ere these,— Who may, by singing spells, call back? Zeus had not else stopped one who rightly knew The way to bring the dead again. But, did not an appointed Fate constrain The Fate from gods, to bear no more than due, My heart, outstripping what tongue utters, Would have all out: which now, in darkness, mutters Moodily grieved, nor ever hopes to find How she a word in season may unwind From out the enkindling mind.
(Browning: Agamemnon; chorus. 1877.)
Of the same general metrical character as the irregular odes are certain poems (like some of Patmore's) with no regularly organized structure and varying lengths of line. See, for example, Milton's verses At a Solemn Music and On Time; Swinburne's Thalassius and On the Cliffs; and William Morris's On a fair Spring Morning. Compare, also, the effect of the irregular strophic forms in Southey's Curse of Kehama, Shelley's Queen Mab, and the like.[41]
FOOTNOTES:
VI. IMITATIONS OF CLASSICAL METRES
While English verse is generally admitted to be based on a different system from that of Greek and Latin poetry (the element of accent obscuring that of quantity in English prosody, as the element of quantity obscures that of accent in classical prosody), there have been repeated attempts to introduce the more familiar classical measures into English. Most of these attempts have been academic and have attracted the attention only of critics and scholars; a few have interested the reading public.
Imitations of classical verse in English may conveniently be divided into two classes: imitations of lyrical measures, and imitations of the dactylic hexameter. The latter group is of course much the larger, especially in modern poetry. It will appear that the classical measures might also be divided into two groups according to another distinction: those attempting to observe the quantitative prosody of the original language, and those in which the original measure is transmuted into frankly accentual verse.
The original impulse toward this classical or pseudo-classical verse was a product of the Renaissance, when all forms of art not based on Greek and Latin models were suspected. Rime, not being found in the poetry of the classical languages, was treated as a product of the dark ages,—the invention of "Goths and Huns." See Roger Ascham's Schoolmaster (1570) for the most characteristic representative of this phase of thought in England. The new forms of verse were, naturally enough, first tried in Italy. Schipper traces the beginning of the movement to Alberti (1404-1484). A century later Trissino wrote his Sophonisbe and Italia Liberata in unrimed verse, in professed imitation of Homer, and was looked upon as the inventor of versi sciolti, that is, verses "freed" from rime (compare the remarks of Milton in the prefatory note to Paradise Lost). In 1539 Claudio Tolomei wrote Versi e Regole della Poesia Nuova, a systematic attempt to introduce the classical versification. He also wrote hexameters and sapphics. In France there were similar efforts in the sixteenth century. Mousset translated Homer into hexameters in 1530, and A. de Baïf, a member of the "Pleiade" (1532-1589), devised some French hexameters which he called vers baïfins. The English experiments were worked out independently, and yet under the same neo-classical influences. On this subject, see Schipper, vol. ii. pp. 2-12, 439-464.
A.—LYRICAL MEASURES
Reason, tell me thy mind, if here be reason In this strange violence, to make resistance Where sweet graces erect the stately banner Of Virtue's regiment, shining in harness Of Fortune's diadems, by Beauty mustered: Say, then, Reason, I say, what is thy counsel?
(Sir Philip Sidney: Phaleuciakes, from the Arcadia, ab. 1580.)
This is the measure commonly called "Phalæcian." Compare Tennyson's imitation of it, in his Hendecasyllabics quoted below.
O sweet woods, the delight of solitariness! O how much I do like your solitariness! Where man's mind hath a freed consideration Of goodness to receive lovely direction. Where senses do behold the order of heavenly host, And wise thoughts do behold what the Creator is.
(Sir Philip Sidney: Asclepiadics, from the Arcadia. ab. 1580.)
This is the measure now called "Lesser Asclepiadean."
My Muse, what ails this ardor To blaze my only secrets? Alas, it is no glory To sing my own decay'd state. Alas, it is no comfort To speak without an answer; Alas, it is no wisdom To show the wound without cure.
(Sir Philip Sidney: Anacreontics, from the Arcadia. ab. 1580.)
Sidney was a member of the little group of classical students who called themselves the "Areopagus," and who were interested in introducing classical measures into English verse. Others of the group were Gabriel Harvey and Edmund Spenser, from whose correspondence most of our information regarding the movement is derived. (See the letters in Grosart's edition of Harvey's Works, vol. i. pp. 7-9, 20-24, 35-37, 75-76, 99-107.) Spenser's only known efforts in the same direction are also preserved in this correspondence; a poem in twenty-one iambic trimeters, and this "tetrasticon":—
"See yee the blindfoulded pretie god, that feathered archer, Of lovers miseries which maketh his bloodie game? Wote ye why his moother with a veale hath coovered his face? Trust me, least he my loove happely chaunce to beholde."
It would seem that Spenser was attempting, more conscientiously than Sidney did, to follow the classical rules of quantity in making his verses; hence they are more difficult to read according to English rhythm. Sidney's experiments in the classical versification are perhaps the most successful, to modern taste, of all those made in the Elizabethan period. Among the other songs in the Arcadia will be found sapphics and hexameters.
See especially Spenser's letter of April, 1580, and Harvey's reply (op. cit., vol. i. pp. 35, 99), for notable passages indicating the seriousness with which the members of the "Areopagus" were trying to orm English verse so as to bring it under the rules of classical prosody. The relations of quantity and accent were not understood, as indeed they may be said still not to be understood for the English language. Spenser suggests, in a frequently quoted passage, that in the word carpenter the middle syllable is "short in speech, when it shall be read long in verse,"—that is, because the vowel is followed by two consonants; hence it "seemeth like a lame gosling that draweth one legge after her.... But it is to be wonne with custome, and rough words must be subdued with use." Harvey resented the idea that the common pronunciation of words could be departed from in order to conform them to arbitrary metrical rules, and in his reply said: "You shall never have my subscription or consent ... to make your Carpēnter our Carpĕnter, an inche longer or bigger, than God and his Englishe people have made him.... Else never heard I any that durst presume so much over the Englishe ... as to alter the quantitie of any one sillable, otherwise than oure common speache and generall receyved custome woulde beare them oute." But while all English verse must be consistent with "the vulgare and naturall mother prosodye," Harvey does not despair of finding a system that shall be at the same time "countervaileable to the best tongues" in making possible quantitative verse. The whole passage is well worth reading. The best account of the movement toward classical versification in the days of the "Areopagus" will be found in Professor Schelling's Poetic and Verse Criticism in the Reign of Elizabeth (Publications of the University of Pennsylvania).
O ye Nymphes most fine who resort to this brooke, For to bathe there your pretty breasts at all times: Leave the watrish bowres, hyther and to me come at my request nowe. And ye Virgins trymme who resort to Parnass, Whence the learned well Helicon beginneth: Helpe to blase her worthy deserts, that all els mounteth above farre.
(William Webbe: Sapphic Verse, in A Discourse of English Poetrie. 1586.)
Webbe was another of those who believed "that if the true kind of versifying in immitation of Greekes and Latines, had been practised in the English tongue, ... it would long ere this have aspyred to as full perfection, as in anie other tongue whatsoever." So he added to his Discourse (see Arber Reprint, pp. 67-84) a discussion of the principles of quantitative prosody, and some specimens of what might be done by way of experiment.[42] The Sapphics from which the present specimen is taken are a paraphrase of Spenser's praise of Elizabeth in the fourth eclogue of the Shepherd's Calendar. (For a specimen of Webbe's hexameters, see p. 334, below.)
Greatest in thy wars, Greater in thy peace, Dread Elizabeth; Our muse only truth, Figments cannot use, Thy ritch name to deck That itselfe adorns: But should now this age Let all poesye fayne, Fayning poesy could Nothing faine at all Worthy halfe thy fame.
(Thomas Campion: Iambic Dimeter, "an example Lyrical," in Observations in the Art of English Poesie. 1602.)
Rose-cheekt Lawra come Sing thou smoothly with thy beawtie's Silent musick, either other Sweetely gracing. Lovely formes do flowe From concent devinely framed, Heav'n is musick, and thy beawtie's Birth is heavenly.
(Thomas Campion: Trochaic Dimeter, ib.)
The full title of Campion's work was: "Observations in the Art of English Poesie; wherein it is demonstratively proved, and by example confirmed, that the English toong will receive eight severall kinds of numbers, proper to it selfe, which are all in this booke set forth, and were never before this time by any man attempted." Campion, like other classical versifiers, condemned rime as a barbarity; but in imitating the classical measures he does not violate the normal English accent, so that his verses read smoothly in English rhythm. Curiously enough, he includes among his innovations an iambic measure which proves to be ordinary decasyllabic verse:
"Goe numbers boldly passe, stay not for ayde Of shifting rime, that easie flatterer, Whose witchcraft can the ruder eares beguile".
Professor Schelling exclaims: "Where could the musical Doctor have kept his ears all this time? to propose this measure thus innocently for the drama, when the English stage had been ringing with his 'licentiate iambics' for more than two decades!"
The second of the specimens quoted above Campion describes as a dimeter "whose first foote may either be a Sponde or Trochy: the two verses following are both of them Trochaical, and consist of foure feete, the first of either of them being a Spondee or Trochy, the other three only Trochyes. The fourth and last verse is made of two Trochyes. The number is voluble and fit to expresse any amorous conceit." (See also another of Campion's measures, in Part One, p. 27.)[43]
In the seventeenth and eighteenth centuries few, if any, notable English poems were written in the classical measures. Goldsmith, in one of his essays (xviii, on Versification), maintained the possibility of reducing English words to the classical prosody, and said: "We have seen several late specimens of English hexameters and sapphics so happily composed that, by attaching them to the idea of ancient measure, we found them in all respects as melodious and agreeable to the ear as the works of Virgil and Anacreon, or Horace." But whose these were it seems to be impossible to say.
Needy knife-grinder! whither are you going? Rough is the road, your wheel is out of order— Bleak blows the blast;—your hat has got a hole in't, So have your breeches! Weary knife-grinder! little think the proud ones Who in their coaches roll along the turnpike- road, what hard work 'tis crying all day, "Knives and Scissors to grind O!"
(Canning and Frere: Sapphics; the Friend of Humanity and the Knife-Grinder, in the Anti-Jacobin, November, 1797).
These "Sapphics" were a burlesque of some by Southey in similar stanzas, opening:
"Cold was the night wind, drifting fast the snow fell, Wide were the downs and shelterless and naked, When a poor wanderer struggled on her journey, Weary and way-sore."
"In this poem," said the Anti-Jacobin, not unjustly, "the pathos of the matter is not a little relieved by the absurdity of the metre."
O mighty-mouth'd inventor of harmonies, O skill'd to sing of Time or Eternity, God-gifted organ-voice of England, Milton, a name to resound for ages; Whose Titan angels, Gabriel, Abdiel, Starr'd from Jehovah's gorgeous armories, Tower, as the deep-domed empyrean Rings to the roar of an angel onset.
(Tennyson: Milton; Alcaics.)
O you chorus of indolent reviewers, Irresponsible, indolent reviewers, Look, I come to the test, a tiny poem All composed in a metre of Catullus, All in quantity, careful of my motion, Like the skater on ice that hardly bears him, Lest I fall unawares before the people, Waking laughter in indolent reviewers. Should I flounder awhile without a tumble Thro' this metrification of Catullus, They should speak to me not without a welcome, All that chorus of indolent reviewers. Hard, hard, hard is it, only not to tumble, So fantastical is the dainty metre. Wherefore slight me not wholly, nor believe me Too presumptuous, indolent reviewers.
(Tennyson: Hendecasyllabics.)
On the first of these stanzas of Tennyson, compare his stanzas to Maurice, and note, p. 77, above. With the hendecasyllabics, compare the "Phaleuciakes" of Sidney, p. 331, above, and "Hendecasyllabics" in Swinburne's Poems and Ballads.
Tennyson took no little interest in the relations of classical and English metres, and seems to have believed in the possibility of genuine English quantitative verse. He did not, however, regard it as of practical value, and treated his own experiments as trifles. In his Memoirs, written by his son, Tennyson is said to have observed that he knew the quantity of every English word except scissors, a mysterious saying which may be set beside Southey's declaration that Egypt is the only spondee in the English language. His son also preserves an extemporaneous line composed by Tennyson to illustrate the observance of quantity "regardless of accent":
"All men alike hate slops, particularly gruel;"
and a sapphic stanza, also extemporized, quantitative but conforming to common accent:
"Faded ev'ry violet, all the roses; Gone the glorious promise; and the victim, Broken in this anger of Aphrodite, Yields to the victor."
(Memoir, vol. ii. p. 231.)
God, on verdurous Helicon Dweller, child of Urania, Thou that draw'st to the man the fair Maiden, O Hymenæus, O Hymen, O Hymenæus!
(Robinson Ellis: Poems of Catullus, LXI. 1871.)
Mr. Ellis's translations from Catullus are all "in the metres of the original," and are among the most interesting specimens of modern classical versifying. "Tennyson's Alcaics and Hendecasyllabics," he said in his Preface, "suggested to me the new principle on which I was to go to work. It was not sufficient to reproduce the ancient metres, unless the ancient quantity was reproduced also." Of special interest is the imitation of the "almost unapproachable" galliambic verse of the Attis (pp. 49-53):
"When awoke the sun, the golden, that his eyes heaven-orient Scann'd lustrous air, the rude seas, earth's massy solidity, When he smote the shadowy twilight with his healthy team sublime, Then arous'd was Attis; o'er him sleep hastily fled away To Pasithea's arms immortal with a tremulous hovering."
As Mr. Ellis observes, the metre of Tennyson's Boadicea was modelled on this of Catullus. Compare also Mr. George Meredith's Phaëthon, "attempted in the galliambic measure":
"At the coming up of Phœbus, the all-luminous charioteer, Double-visaged stand the mountains in imperial multitudes, And with shadows dappled, men sing to him, Hail, O Beneficent; For they shudder chill, the earth-vales, at his clouding, shudder to black." —Saw the white implacable Aphrodite, Saw the hair unbound and the feet unsandalled Shine as fire of sunset on western waters; Saw the reluctant Feet, the straining plumes of the doves that drew her, Looking always, looking with necks reverted, Back to Lesbos, back to the hills whereunder Shone Mitylene.
(Swinburne: Sapphics, in Poems and Ballads.)
Love, what ailed thee to leave life that was made lovely, we thought, with love? What sweet visions of sleep lured thee away, down from the light above? What strange faces of dreams, voices that called, hands that were raised to wave, Lured or led thee, alas, out of the sun, down to the sunless grave?
(Swinburne: Choriambics, in Poems and Ballads, Second Series, 1878.)
Swinburne's imitations of classical measures are frankly accentual, with no effort to introduce fixed quantities into English.
B.—DACTYLIC HEXAMETER
Lady, reserved by the heavens to do pastors' company honor, Joining your sweet voice to the rural Muse of a desert, Here you fully do find this strange operation of love, How to the woods Love runs, as well as rides to the palace, Neither he bears reverence to a prince nor pity to beggar, But (like a point in midst of a circle) is still of a nearness, All to a lesson he draws, neither hills nor caves can avoid him.
(Sir Philip Sidney: Dorus and Zelmane, in the Arcadia. ab. 1580.)
Sidney was evidently trying to write genuinely quantitative hexameters. Thus "of love," in the third line, may be regarded as a quantitative spondee (the o being followed by two consonants), although the of would not naturally be stressed. In like manner it is very possible that "pallace" was spelled with two l's in order to make the first syllable seem long.
Sidney's hexameters are the first in literary verse which have come down to us; but there must have been earlier efforts at least by the time of Ascham's Schoolmaster (1570), which vigorously attacked "our rude beggerly ryming, brought first into Italie by Gothes and Hunnes, ... and at last receyved into England by men of excellent wit in deede, but of small learning, and less judgement in that behalfe." (Arber Reprint, p. 145.) One hexameter distich by a contemporary and friend of Ascham's, Master Watson of Cambridge, is handed down to us by Webbe, as being "common in the mouthes of all men":