NOTES TO CANTO SECOND.
Reading edition
NOTE I, P. 60.
He strode a poney, lank and lean, That looked as if astray ’t had been; Dun was its hue, with flowing-mane; The tail was black, and like a train—
Contrary to the custom of the Manx Fairies, it might be inferred, that our Groom had just returned from the sanctuary of sportsmen, with a nag of the native breed. But having already made considerable progress in establishing the origin of the rider, we shall now take some pains in proving to our readers the pedigree of the steed: and in asserting him to be from the stock of the far-famed Sleipner, we hope to be borne out by his performances, and confirmed by probability in our opinion. The circumstance of that noted stallion having had eight legs, does not in the least degree weaken our belief in the genuine descent of the Goblin’s poney; for, reasoning by analogy, we have never yet heard of a parent with a wooden-leg transmitting timber-toes to posterity.
To those sportsmen who confine their genealogical inquiries to the general stud-book and racing-calendar, we present, in the words of the Gothic Edda, the history of a horse, more famed than the Childer’s Barb, or the Godolphin Arabian.—
HISTORIA VICESIMA PRIMA. Quomodo Loco procreavit equum Sleipnerum cum Svadilfaro.
“Faber quidam Asas adveniens, ad urbem illis ædificandam per tres annos sese obtulit, eamque adeo munitam, ut tuta esset ab incursionibus Gigantum. Mercedem vero laboris Frejam postulavit, ut et lunam solemque. Dii vero, inito consilio, paciscuntur; si vero quid laboris prima die æstatis superesset, præmium amitteret; nullius vero opera ei uti liceret. Hic de auxilio equi sui Svadelfari tantum pactus fuit. Omnia vero hæc fiebant, dirigente et instigante Locone. Hic urbam ædificaturus, noctu per equum lapides attraxit. Asis mirum videbatur, eam tam magnos adferre montes; nec non equum plus, quam fabrum, conficere. Pacto autem multi interfuere testes: quippe cum gigas videretur non satis tutus inter Asas, si hic esset, Toro domum reverso. Qui jam mari Baltico trajecto, hinc per amnes et fluvios ad Asiam progressus, (quod priscis Austerveg audit) bellum cum gigantibus gessit. Urbs fuit munita et tam alta, ut perspicere non valeres. Tribus vero reliquis fabro diebus, Dii congregati solia sua ascendentes quæsiverunt, quisnam auctor esset, ut Freya in Jotunheimiam elocaretur? ut et aer perderetur, inducta cœlo calligine, sublatum solem et lunam dando gigantibus. Illos vero inter conventum fuit, Loconem hoc dedisse consilium. Dicebant, eum misera morte afficiendum esse, nisi rationem, qua faber mercedem amitteret, inveniret, adjicientes fore ut statim illum comprehenderent. Examinatus vero jurejurando promisit se effecturum, ut faber mercede frustraretur, quicquid tandem huic negotio impenderet. Fabro autem lapidis advehendi causa, cum Svadilfaro, egressuro, ex sylva prosiliit equa quædam solitaria, equo adhinniens. Quam conspicatus equus, in furorem actus, rupto fune, eam adcurrit, jam in sylvam accelerantem, insequente fabro, equum assecuturo. Equa vero totam per noctem discurrente, faber impeditus fuit, quominus, hac nocte, una cum die sequente, opus, uti antea, fuerit continuatum. Quo cognito, animo percellitur giganteo. Quo viso, juramentis non parcentes Torum invocarunt: qui statim adveniens, vibrato in aera malleo, dataque mercede, occisum fabrum in Niflheimium detrusit. Loconi vero cum Svadilfaro res fuit, ut equuleum genuerit nomine Sleipnerum, octo habentem pedes.
EDDA, FAB. XXI, OPERA ET STUDIO JO. GORANSON.”
NOTE II, P. 63.
The Goblin Groom now screamed a scream; For Goblins hate a running stream; And, if the truth my records say, The Elfin Poney neighed a neigh.
The terror of the inhabitants of Alfheim, or Fairy land, for running water, has been too often asserted to require much comment. Unlicensed spirits, that wander on the face of the earth, with intentions injurious to mankind, are always represented as tortured with hydrophobia. The author cannot hope that he has painted the Goblin’s terror in all the glowing colours of a Burns,[19] or with the finer tints of a Scott; yet he flatters himself some beauty may be found, by the admirers of pleonastic redundancy, in the passage expressive of the horror of the horse and rider; and he feels that, in this judgment, he will be supported by the most classical authorities in the English language; e.g.
GILES SCROGGINS.
Giles Scroggins courted Molly Brown, Fol deriddle lol, fol deriddle lido; The fairest wench in all the town, Fol deriddle lol, fol deriddle lido; He bought a ring with posie true, “If you loves I as I loves you, “No knife can cut our love in two.” Fol deriddle lol, fol deriddle lido. But scissars cut as well as knives, Fol deriddle lol, fol deriddle lido; And quite unsartin’s all our lives, Fol deriddle lol, fol deriddle lido; The day they were to have been wed, Fate’s scissars cut poor Giles’s thread, So they could not be mar-ri-ed. Fol deriddle lol, fol deriddle lido. Poor Molly laid her down to weep, Fol deriddle lol, fol deriddle lido; And cried herself quite fast asleep, Fol deriddle lol, fol deriddle lido; When, standing all by the bed-post, A figure tall her sight engrossed, And it cried, I beez Giles Scroggins’ Ghost! Fol deriddle lol, fol deriddle lido. The Ghost it said, all solemnly, Fol deriddle lol, fol deriddle lido; O Molly, you must go with I! Fol deriddle lol, fol deriddle lido; All to the grave, your love to cool.— She says, I am not dead, you fool!— Says the Ghost, says he, Vy that’s no rule. Fol deriddle lol, fol deriddle lido. The Ghost he seized her, all so grim, Fol deriddle lol, fol deriddle lido; All for to go along with him; Fol deriddle lol, fol deriddle lido. “Come, come, said he, ere morning beam.”— “I vont!” said she, and she screamed a scream— Then she woke and found she dreamed a dream. Fol deriddle lol, fol deriddle lido. And again,— With rapid round the Baron bent; He sighed a sigh, he prayed a prayer; The prayer was to his patron Saint, The sigh was to his lady fair. LAY OF THE LAST MINSTREL.
NOTE III, P. 66.
And thus he hilter skilter flew, And distanced all the huntsmen-crew.
We cannot give a better idea of the hilter skilter mode of riding with hounds, than by quoting the truly classical words of an accomplished Leicestershire sportsman, who is equally celebrated as a painter and a poet.—
And next in the cluster See Wor’ster and Muster; Now Muster sets Wor’ster, Now Wor’ster beats Muster; Now Muster is first, Sir, And Wor’ster is burst, Sir: Such bunglers as those are Ought both to be curst, Sir.
Although we in general disapprove of Parodies, the above is so excellent, and so applicable to our subject, that we sacrifice our principles for the gratification of our readers.
NOTE IV, P. 72.
No demi volte, nor demi air; No high curvett, nor terre-a-terre; No hand to guide the gay croupade. Nor heel to aid the balotade; No capriole his skill to shew; He these disdained, with pas et saut.
It must be truly gratifying to yeomanry officers, and those who have not had the advantages of an equestrian education, that, in works of fancy, they may be at once amused and instructed with valuable hints on horsemanship; and believing, as we do, that those who have feasted on the pages of Marmion are now enabled to take a leading part in a meslee or fight, we shall proceed to forward them in their pursuits, by recommending to their attention Astley’s explanation of the Croupade.
The Tailor too of Brentford will be enjoyed with greater glee, when the spectators do not curb their mirth by a fellow-feeling for the Cockney equestrian.
“CROUPADE.
“The horse leaps into the air with all his feet off the ground at one and the same time, and without stretching out those behind: by an attention to this action, much good might result to the cavalry; and here I will relate a manœuvre, to which I often had recourse in 1761, and at other periods of the seven years war. I instructed my horse to strike an object, or objects, at the will of the rider, within a given distance, before, behind, or together; and necessity furnished me with the idea.
“In patroling, a soldier sometimes wants a guide, and gentle means often prove ineffectual to induce a peasant to quit his bed, at the dead of the night, for the accommodation of others,—to dismount for the purpose of procuring admittance into a house, at such a time, barred and bolted within, and perhaps in an enemy’s country, would be dangerous. I knew my duty, and, ere this, my horse knew his. On approaching the door, I caused him to strike it with his fore-feet; and if this did not answer my purpose, (for it would sometimes fail), I faced him about, when, with his croup, he would break the door in pieces: this he would accomplish in a few moments, to the surprise and terror of the inhabitants: on the other hand, when upon the defensive, no person could approach me without danger; and when on the offensive, and animated at my pleasure, to the highest pitch, he would strike in every direction, and clear his way!
ASTLEY’S EQUESTRIAN EDUCATION, P. 177.”
We do not remember that La Broue has any where pointed out the application of this useful air du Manège, as the French term it.
NOTE V, P. 74.
Loud howled each hound; I will presume They howled at loss of Goblin Groom; And well they might, for such a fay Ne’er rode before on hunting day;—
Though not exactly authorized by the writer of the following poem, yet we cannot think he will take offence at our availing ourselves of its beauties, to illustrate the fidelity and attachment of the canine species to their masters, and those who have shared with them in the dangers and fatigues of the chace. We extract this poem from a Calcutta Gazette of 1807.—
BETH-GELERT, OR THE GRAVE OF THE GREYHOUND.[20]
The spearmen heard the bugle sound, And cheerly smiled the morn, And many a brach, and many a hound, Obeyed Llewelyn’s horn. And still he blew a louder blast, And gave a lustier cheer, “Come, Gelert, come, wer’t never last “Llewelyn’s horn to hear. “Oh! where does faithful Gelert roam, “The flower of all his race? “So true, so brave; a lamb at home, “A lion in the chace!” ’Twas only at Llewelyn’s board The faithful Gelert fed; He watched, he served, he cheered his lord, And sentineled his bed. In sooth he was a peerless hound, The gift of royal John; But now no Gelert could be found, And all the chace rode on. And now, as o’er the rocks and dells The gallant chidings rise, All Snowdon’s craggy chaos yells The many mingled cries! That day Llewelyn little loved The chace of hart or hare, And scant and small the booty proved, For Gelert was not there. Unpleased, Llewelyn homeward hied: When, near the portal seat, His truant Gelert he espied Bounding his lord to greet. But, when he gained his castle door, Aghast the chieftain stood; The hound all o’er was smeared with gore, His lips, his fangs, ran blood. Llewelyn gazed with fierce surprise:— Unused such looks to meet, His fav’rite checked his joyful guise, And crouched and licked his feet. Onward in haste Llewelyn past, And on went Gelert too, And still, where’er his eyes he cast, Fresh blood-gouts shocked his view. O’erturned his infant’s bed he found, With blood-stained covert rent; And all around, the walls and ground With recent blood besprent. He called his child, no voice replied; He searched with terror wild; Blood, blood he found on every side; But no where found his child. “Hell-hound! my child by thee’s devoured!” The frantic father cried; And to the hilt his vengeful sword He plunged in Gelert’s side. His suppliant looks, as prone he fell, No pity could impart: But still his Gelert’s dying yell Passed heavy o’er his heart. Aroused by Gelert’s dying yell Some slumberer wakened nigh: What words the parent’s joy could tell To hear his infant’s cry! Concealed beneath a tumbled heap, His hurried search had missed: All glowing from his rosy sleep, The cherub boy he kissed. Nor scath had he, nor harm, nor dread; But the same couch beneath Lay a gaunt wolf, all torn and dead, Tremendous still in death. Ah, what was then Llewelyn’s pain! For now the truth was clear; His gallant hound the wolf had slain, To save Llewelyn’s heir. Vain, vain was all Llewelyn’s woe: “Best of thy kind adieu! “The frantic blow, which laid thee low, “This heart shall ever rue.” And now a gallant tomb they raise, With costly sculpture deckt; And marbles storied with his praise, Poor Gelert’s bones protect. There never could the spearman pass, Or forester, unmoved; There oft the tear-besprinkled grass Llewelyn’s sorrow proved. And there he hung his horn and spear, And there, as evening fell, In Fancy’s ear he oft would hear Poor Gelert’s dying yell. And till great Snowdon’s rocks grow old, And cease the storm to brave, The consecrated spot shall hold The name of “Gelert’s Grave!”
NOTE VI, P. 76.
The passing shepherd calls the bush, The Winning-Post of Friar Rush;—
This Friar, or “esprit follet,” is a gentleman of as many names and titles as any Spanish Grandee; “Will o’ the Wisp,” however, is the name he is best known by, when stript of his ecclesiastical honours: he has always been considered a tricky knave, and is thus spoken of in Marmion.—
Better we had through mire and bush Been lanthorn led by Friar Rush. MARMION, CANTO IV, P. 187.
NOTE VII, P. 79.
To every Bard that serves his Grace, A goodly pension or a place;—
We here call upon our readers, to attend to the origin of the word Bard; inasmuch as, that term has become applicable to poem-mongers in general. The learned Mr. Prideaux informs us,—
“Bardus possessed his father Druis’ place. To his ancestors Phylosophy, Magick, Politicks, Rites and Ceremonies, this man added Poetry, and set all their excellencies at a higher key. 2. From him we have the ancient Bardi, the chroniclers of all heroick actions, and commenders of their performers, to the imitation of their posterity, whom an ancient poet thus bespeaketh,—
Vos quoq. qui fortes animas belloq. peremtas, Laudibus in longum vates deducitis ævum. Plurima securi fudistis carmina Bardi. Then you brave Bards securely song, The praise of dead Pears; In lofty strains, for to prolong Their fame for many years.
3. Their esteem was such amongst the greatest commanders, that if two armies were even at push of pike, and a Bard had step’d in between them, they would have held their hands, harkened to their advice, and not have offered to strike until he were out of danger. 4. Famous amongst those Bards (before the coming of our Saviour) were held Plenidius and Glaskirion, and of late years, Davye Dee, David ap Williams and others. They say the island Bardsey had Bardorum Insula, its name, from them, and Aquila, Perdix, Patrick, Maddoch, and both the Merlins the wisards, were from this institution.”
PRIDEAUX’S INTRODUCTION TO HISTORY, P. 255-256.
Although the terms Bard and Poet are those in more general use to express the rhyme-weaving brotherhood, yet there are words of Gothic origin which may still be found of uncommon meaning, and, on certain occasions, even more significant than the former. Thus, a dame declaiming in heroics to her waiting-women and children, is denominated a Scold, from the Scalds or Poets of Iceland; and the term Bragger may, from “Brage” of the Goths, be employed to designate a blustering Poetaster, who claims, for alleged facility and unquestionable length of composition, the applause reserved for creative genius and continued exertion.
THE END. Printed by Alex. Lawrie & Co. Edinburgh.
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