Volume 5 — WINTER PICTURES FROM THE POETS.
Reading edition
Although English Poetry abounds with pictures of the seasons, its Winter pictures are neither numerous, nor among its best. For one good snow-piece we can readily find twenty delicate Spring pictures—twinkling with morning dew, and odorous with the perfume of early flowers. It would be easy to make a large gallery of Summer pictures; and another gallery, equally large, which should contain only the misty skies, the dark clouds, and the falling leaves of Autumn. Not so with Winter scenes. Not that the English poets have not painted the last, and painted them finely, but that as a rule they have not taken kindly to the work. They prefer to do what Keats did in one of his poems, viz., make Winter a point of departure from which Fancy shall wing her way to brighter days:
"Fancy, high-commissioned; send her! She has vassals to attend her, She will bring, in spite of frost, Beauties that the earth hath lost, She will bring thee, all together, All delights of summer weather."
But we must not let Keats come between us and the few among his fellows who have sung of Winter for us. Above all, we must not let him keep his and our master, Shakspeare, waiting:
"When icicles hang by the wall, And Dick the shepherd blows his nail, And Tom bears logs into the hall, And milk comes frozen home in pail, When blood is nipped, and ways be foul, Then nightly sings the staring owl, To-whoo; To-whit, to-whoo, a merry note, While greasy Joan doth keel the pot. "When all aloud the wind doth blow, And coughing drowns the parson's saw, And birds sit brooding in the snow, And Marian's nose looks red and raw. When roasted crabs hiss in the bowl, Then nightly sings the staring owl, To-whoo; To-whit, to-whoo, a merry note, While greasy Joan doth keel the pot."
From Shakspeare to Thomson is something of a descent, but we must make it before we can find any Winter poetry worth quoting. Here is a picture, ready-made, for Landseer to put into form and color:
"There, warm together pressed, the trooping deer Sleep on the new-fallen snows; and scarce his head Raised o'er the heapy wreath, the branching elk Lies slumbering sullen in the white abyss. The ruthless hunter wants nor dogs nor toils, Nor with the dread of sounding bows he drives The fearful flying race: with ponderous clubs, As weak against the mountain-heaps they push Their beating breast in vain, and piteous bray, He lays them quivering on the ensanguined snows, And with loud shouts rejoicing bears them home."
Cowper is superior to Thomson as a painter of Winter, although it is doubtful whether he was by nature the better poet. Here is one of his pictures:
"The cattle mourn in corners, where the fence Screens them, and seem half petrified with sleep In unrecumbent sadness. There they wait Their wonted fodder; not like hungering man, Fretful if unsupplied; but silent, meek, And patient of the slow-paced swain's delay. He, from the stack, carves out the accustomed load, Deep plunging, and again deep plunging oft, The broad keen knife into the solid mass: Smooth as a wall, the upright remnant stands, With such undeviating and even force He severs it away: no needless care, Lest storms should overset the leaning pile Deciduous, or its own unbalanced weight. Forth goes the woodman, leaving, unconcerned, The cheerful haunts of man, to wield the axe And drive the wedge in yonder forest drear, From morn to eve his solitary task. Shaggy, and lean, and shrewd, with pointed ears And tail cropped short, half lurcher and half cur, His dog attends him. Close behind his heel Now creeps he slow; and now, with many a frisk, Wide scampering, snatches up the drifted snow With ivory teeth, or ploughs it with his snout; Then shakes his powdered coat, and barks for joy. Heedless of all his pranks, the sturdy churl Moves right toward the mark; nor stops for aught, But now and then, with pressure of his thumb To adjust the fragrant charge of a short tube That fumes beneath his nose: the trailing cloud Streams far behind him, scenting all the air. Now from the roost, or from the neighboring pale, Where, diligent to cast the first faint gleam Of smiling day, they gossiped side by side, Come trooping at the housewife's well-known call The feathered tribes domestic. Half on wing, And half on foot, they brush the fleecy flood, Conscious and fearful of too deep a plunge. The sparrows peep, and quit the sheltering eaves, To seize the fair occasion; well they eye The scattered grain, and thievishly resolved To escape the impending famine, often scared As oft return, a pert voracious kind. Clean riddance quickly made, one only care Remains to each, the search of sunny nook, Or shed impervious to the blast. Resigned To sad necessity, the cock foregoes His wonted strut; and, wading at their head, With well-considered steps, seems to resent His altered gait and stateliness retrenched."
The American poets have excelled their English brethren in painting the outward aspects of Winter. Here is Mr. Emerson's description of a snow storm:
"Announced by all the trumpets of the sky Arrives the snow, and, driving o'er the fields, Seems nowhere to alight: the whited air Hides hills and woods, the river, and the heaven, And veils the farm-house at the garden's end. The sled and traveler stopped, the courier's feet Delayed, all friends shut out, the housemates sit Around the radiant fire-place, enclosed In a tumultuous privacy of storm. Come see the north wind's masonry. Out of an unseen quarry evermore Furnished with tile, the fierce artificer Curves his white bastions with projected roof Round every windward stake, or tree, or door. Speeding, the myriad-handed, his wild work So fanciful, so savage, nought cares he For number or proportion. Mockingly On coop or kennel he hangs Parian wreaths; A swan-like form invests the hidden thorn: Fills up the farmer's lane from wall to wall, Maugre the farmer's sighs, and at the gate A tapering turret overtops the work. And when his hours are numbered, and the world Is all his own, retiring, as he were not, Leaves, when the sun appears, astonished Art To mimic in slow structures, stone by stone, Built in an age, the mad wind's night-work, The frolic architecture of the snow."
In Mr. Bryant's "Winter Piece" we have a brilliant description of frost-work:
"Look! the massy trunks Are cased in the pure crystal; each light spray Nodding and tinkling in the breath of heaven, Is studded with its trembling water-drops, That glimmer with an amethystine light. But round the parent stem the long low boughs Bend, in a glittering ring, and arbors hide The glassy floor. Oh! you might deem the spot The spacious cavern of some virgin mine, Deep in the womb of earth—where the gems grow, And diamonds put forth radiant rods and bud With amethyst and topaz—and the place Lit up, most royally, with the pure beam That dwells in them. Or haply the vast hall Of fairy palace, that outlasts the night, And fades not in the glory of the sun;— Where crystal columns send forth slender shafts And crossing arches; and fantastic aisles Wind from the sight in brightness, and are lost, Among the crowded pillars. Raise thine eye; Thou seest no cavern roof, no palace vault; There the blue sky and the white drifting cloud Look in. Again the wildered fancy dreams Of spouting fountains, frozen as they rose, And fixed, with all their branching jets, in air, And all their sluices sealed. All, all is light; Light without shade. But all shall pass away With the next sun. From numberless vast trunks, Loosened, the crashing ice shall make a sound Like the far roar of rivers, and the eve Shall close o'er the brown woods as it was wont."
Winter, itself, has never been more happily impersonated than by dear old Spenser. We meant to close with his portrait of Winter, but, on second thoughts, we give, as more seasonable, his description of January. The fourth line can hardly fail to remind the reader of the second line of Shakspeare's song, and to suggest the query—whether Shakspeare borrowed from Spenser, Spenser from Shakspeare, or both from Nature?
"Then came old January, wrapped well In many weeds to keep the cold away; Yet did he quake and quiver like to quell, And blow his nayles to warme them if he may; For they were numbed with holding all the day An hatchet keene, with which he felled wood And from the trees did lop the needlesse spray: Upon an huge great earth-pot steane he stood, From whose wide mouth there flowed forth the Romane floud."
As long as you are engaged in the world, you must comply with its maxims; because nothing is more unprofitable than the wisdom of those persons who set up for reformers of the age. 'Tis a part a man can not act long, without offending his friends, and rendering himself ridiculous.—St. Gosemond.