History of Literature










Dante Gabriel Rossetti



"The House of Life"



see also collection:


Rossetti Dante Gabriel - painter
 

 




Dante Gabriel Rossetti



 


Dante Gabriel Rossetti


see also collection: Rossetti Dante Gabriel - painter


original name Gabriel Charles Dante Rossetti
born May 12, 1828, London, Eng.
died April 9, 1882, Birchington-on-Sea, Kent

English painter and poet who helped found the Pre-Raphaelite Brotherhood, a group of painters treating religious, moral, and medieval subjects in a nonacademic manner. Dante Gabriel was the most illustrious member of the Rossetti family.


Early life and works.
After a general education in the junior department of King’s College (1836–41), Rossetti hesitated between poetry and painting as a vocation. When about 14 he went to “Sass’s,” an old-fashioned drawing school in Bloomsbury (central London), and thence, in 1845, to the Royal Academy schools, where he became a full student.

Meanwhile, he read omnivorously—romantic and poetic literature, William Shakespeare, J.W. von Goethe, Lord Byron, Sir Walter Scott, and Gothic tales of horror. He was fascinated by the work of the American writer Edgar Allan Poe. In 1847 he discovered the 18th-century English painter-poet William Blake through the purchase of a volume of Blake’s designs and writings in prose and verse; the volume has since been known as the Rossetti MS. Blake’s diatribes against the painter Sir Joshua Reynolds encouraged Rossetti to attempt lampoons of his own against the triviality of early Victorian paintings of anecdotal subjects, those of Sir Edwin Landseer being a special target of his derision.

By the time Rossetti was 20, he had already done a number of translations of Italian poets and had composed some original verse, but he was also much in and out of artists’ studios and for a short time was, in an informal way, a pupil of the painter Ford Madox Brown. He acquired some of Brown’s admiration for the German “Pre-Raphaelites,” the nickname of the austere Nazarenes, who had sought to bring back into German art a pre-Renaissance purity of style and aim. It remained to initiate a similiar reform in England.

Largely through Rossetti’s efforts, the English Pre-Raphaelite Brotherhood was formed in 1848 with seven members, all Royal Academy students except for William Michael Rossetti. They aimed at “truth to nature,” which was to be achieved by minuteness of detail and painting from nature outdoors. This was, more especially, the purpose of the two other principal members, William Holman Hunt and John Everett Millais. Rossetti expanded the Brotherhood’s aims by linking poetry, painting, and social idealism and by interpreting the term Pre-Raphaelite as synonymous with a romanticized medieval past.

While Rossetti’s first two oil paintings—“The Girlhood of Mary” (1849; Tate Gallery, London) and “Ecce Ancilla Domini” (“The Annunciation”; 1850, Tate Gallery)—were simple in style, they were elaborate in symbolism. Some of the same atmosphere is felt in the rich word-painting and emotional force of his poem “The Blessed Damozel,” published in 1850 in the first issue of The Germ, the Pre-Raphaelite magazine. When it was exhibited in 1850, “Ecce Ancilla Domini” received severe criticism, which Rossetti could never bear with equanimity. In consequence, he ceased to show in public and gave up oils in favour of watercolours, which he could more easily dispose of to personal acquaintances. He also turned from traditional religious themes to painting scenes from Shakespeare, Robert Browning, and Dante, which allowed more freedom of imaginative treatment. A typical example of his work from this period is “How They Met Themselves” (1851–60; Fitzwilliam Museum, Cambridge). After 1856 Rossetti was led by Sir Thomas Malory’s Morte Darthur and Tennyson’s Idylls of the King to evoke in his paintings an imaginary Arthurian epoch, with heraldic glow and pattern of colour and medieval accessories of armour and dress.

The 1850s were eventful years for Rossetti. They began with the introduction into the Pre-Raphaelite circle of the beautiful Elizabeth Siddal, who served at first as model for the whole group but was soon attached to Rossetti alone and, in 1860, married him. Many portrait drawings testify to his affection for her.

In 1854 he gained a powerful but exacting patron in the art critic John Ruskin. By then the Pre-Raphaelite Brotherhood was at an end, splintered by the different interests and temperaments of its members. But Rossetti’s magnetic personality aroused a fresh wave of enthusiasm. In 1856 he came into contact with the then-Oxford undergraduates Edward Burne-Jones and William Morris. With these two young disciples he initiated a second phase of the Pre-Raphaelite movement. The two main aspects of this fresh departure were a romantic enthusiasm for a legendary past instead of the realism of “truth to nature” and the ambition of reforming the applied arts of design. Rossetti’s influence not only led to easel pictures illustrating Arthurian legend but also into other fields of art. A new era of book decoration was foreshadowed by Rossetti’s illustration for the Moxon edition of the Poems (1857) of Alfred, Lord Tennyson. His commission in 1856 to paint a triptych (“The Seed of David”) for Llandaff Cathedral was a prelude to the ambitious scheme of 1857 to decorate the Oxford Union debating chamber with mural paintings of Arthurian themes. Though Rossetti and his helpers (Burne-Jones, Morris, and others) failed through want of technical knowledge and experience, the enterprise was fruitful in suggesting that the scope of art could be expanded to include the crafts.


The later years.
From 1860 onward, trials were part of Rossetti’s much-disturbed life. His marriage to Elizabeth Siddal, clouded by her constant ill health, ended tragically in 1862 with her death from an overdose of laudanum. Grief led him to bury with her the only complete manuscript of his poems. That he considered his love for his wife similar to Dante’s mystical and idealized love for Beatrice is evident from the symbolic “Beata Beatrix,” painted in 1863 and now in the Tate Gallery.

Rossetti’s life and art were now greatly changed. He moved from riverside premises in London’s Blackfriars to Chelsea. The influence of new friends—Algernon Charles Swinburne and the American painter James McNeill Whistler—led to a more aesthetic and sensuous approach to art. Literary themes gave way to pictures of mundane beauties, such as his mistress, Fanny Cornforth, gorgeously appareled and painted with a command of oils he had not previously shown. Among these works are “The Blessed Damozel” (1871–79), “The Bower Meadow” (1872), “Proserpine” (1874; Tate Gallery), and “La Pia de’ Tolomei” (1881). The luxuriant colours and rhythmic design of these paintings enhance the effect of their languid, sensuous female subjects, all of whom bear a distinctive “Pre-Raphaelite” facial type. The paintings proved popular with collectors, and Rossetti grew affluent enough to employ studio assistants to make copies and replicas. He also collected antiques and filled his large Chelsea garden with a menagerie of animals and birds.

Rossetti had enjoyed a modest success in 1861 with his published translations, The Early Italian Poets; and toward the end of the 1860s his thoughts turned to poetry again. He began composing new poems and planned the recovery of the manuscript poems buried with his wife in Highgate Cemetery. Carried out in 1869 through the agency of his unconventional man of business, Charles Augustus Howell, the exhumation visibly distressed the superstitious Rossetti. The publication of these poems followed in 1870. The Poems were well enough received until a misdirected, savage onslaught by “Thomas Maitland” (pseudonym of the journalist-critic Robert Buchanan) on “The Fleshly School of Poetry” singled out Rossetti for attack. Rossetti responded temperately in “The Stealthy School of Criticism,” published in the Athenaeum; but the attack, combined with remorse and the amount of chloral and alcohol he now took for insomnia, brought about his collapse in 1872. He recovered sufficiently to paint and write, but his life in Chelsea was subsequently that of a semi-invalid and recluse. Until 1874 he spent much time at Kelmscott Manor (near Oxford), of which he took joint tenancy with William Morris in 1871. His lovingly idealized portraits of Jane Morris at this time were a return to his more poetic and mystical style.

In the early 1880s Rossetti occupied himself with a replica of an early watercolour, “Dante’s Dream” (1880), a revised edition of Poems (1881), and Ballads and Sonnets (1881), containing the completed sonnet sequence of “The House of Life,” in which he described the love between man and woman with tragic intensity. The lawyer and man of letters Theodore Watts-Dunton meanwhile did his best to put Rossetti’s financial affairs in order. From a visit to Keswick (in northwestern England) in 1881, Rossetti returned in worse health than before, and he died the following spring.
 


Dante Gabriel Rossetti  Dante's Dream at the Time of the Death of Beatrice


Poetry.
Through his exploration of new themes and his break with academic convention, Rossetti remains an important figure in the history of 19th-century English art. But his enduring worth probably lies as much in his poetry as in his painting. In contrast to his painting, where accumulated details of costume and greenery can become cloying, the detail in Rossetti’s poetry is subordinated to intensity of emotion and is employed to evoke a mood. It is by means of tiny and seemingly trivial touches, for example, that time is suspended in his poem “My Sister’s Sleep” and the very silence of the sickroom is heard. “The Wood Spurge” and the lyric “I have been here before” show Rossetti’s mastery of similar effects. The timeless moment is again caught with great skill in his sonnet “A Venetian Pastoral by Giorgione in the Louvre”—the most successful of his highly original attempts to translate well-known paintings into verse. “The Stream’s Secret,” haunted by the ghost of his dead wife, evokes pity and regret by the power of its verbal music.

Rossetti was a natural master of the sonnet, and his finest achievement, “The House of Life,” is a sonnet sequence unique in the intensity of its evocation of the mysteries of physical and spiritual love. Here, as he claimed against his detractors, “the passionate and just delights of the body are declared to be as naught if not ennobled by the concurrence of the soul at all times.” Magnificent memorable lines are created with simplicity of diction:

Oh! clasp we to our hearts, for deathless dower,

This close-companioned inarticulate hour

When twofold silence was the song of love.

(“Silent Noon,” The House of Life, sonnet XIX)

Rossetti’s poetic art had other, less subjective aspects. “The Last Confession,” a tragic episode set against a background of the Italian Risorgimento, is a powerful dramatic monologue that can bear comparison with those of Robert Browning. With his feeling for medieval subjects, Rossetti also caught the spirit of the ballad. Few modern supernatural ballads are less artificial than “Sister Helen” and “Eden Bower”; and, among re-creations of the historical ballad, “The White Ship” and “The King’s Tragedy” are outstanding. Early in Rossetti’s career, the sight of the great winged bulls in the British Museum evoked his poem “Burden of Nineveh” (1850), a meditation on the unpredictable course of history that is rich in word-music and far-ranging in imaginative vision.

William Gaunt
John Bryson

 


see also collection:
Rossetti Dante Gabriel - painter
 
 
 


Dante Gabriel Rossetti Blessed Beatrice
 

 
 

Part I. YOUTH AND CHANGE



INTRODUCTORY SONNET

  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.
 

LOVE ENTHRONED

  I marked all kindred Powers the heart finds fair:—
  Truth, with awed lips; and Hope, with eyes upcast;
  And Fame, whose loud wings fan the ashen Past
  To signal-fires, Oblivion's flight to scare;
  And Youth, with still some single golden hair
  Unto his shoulder clinging, since the last
  Embrace wherein two sweet arms held him fast;
  And Life, still wreathing flowers for Death to wear.
 

  Love's throne was not with these; but far above
  All passionate wind of welcome and farewell
  He sat in breathless bowers they dream not of;
  Though Truth foreknow Love's heart, and Hope foretell,
  And Fame be for Love's sake desirable,
  And Youth be dear, and Life be sweet to Love.
 

BRIDAL BIRTH

  As when desire, long darkling, dawns, and first
  The mother looks upon the new-born child,
  Even so my Lady stood at gaze and smiled
  When her soul knew at length the Love it nursed.
  Born with her life, creature of poignant thirst
  And exquisite hunger, at her heart Love lay
  Quickening in darkness, till a voice that day
  Cried on him, and the bonds of birth were burst.
 

  Now, shielded in his wings, our faces yearn
  Together, as his fullgrown feet now range
  The grove, and his warm hands our couch prepare:
  Till to his song our bodiless souls in turn
  Be born his children, when Death's nuptial change
  Leaves us for light the halo of his hair.
 

REDEMPTION

  O Thou who at Love's hour ecstatically
  Unto my lips dost evermore present
  The body and blood of Love in sacrament;
  Whom I have neared and felt thy breath to be
  The inmost incense of his sanctuary;
  Who without speech hast owned him, and intent
  Upon his will, thy life with mine hast blent,
  And murmured o'er the cup, Remember me!—
 

  O what from thee the grace, for me the prize,
  And what to Love the glory,—when the whole
  Of the deep stair thou tread'st to the dim shoal
  And weary water of the place of sighs,
  And there dost work deliverance, as thine eyes
  Draw up my prisoned spirit to thy soul!
 

LOVESIGHT

  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?
 

HEART'S HOPE

  By what word's power, the key of paths untrod,
  Shall I the difficult deeps of Love explore,
  Till parted waves of Song yield up the shore
  Even as that sea which Israel crossed dry-shod?
  For lo! in some poor rhythmic period,
  Lady, I fain would tell how evermore
  Thy soul I know not from thy body, nor
  Thee from myself, neither our love from God.
 

  Yea, in God's name, and Love's, and thine, would I
  Draw from one loving heart such evidence
  As to all hearts all things shall signify;
  Tender as dawn's first hill-fire, and intense
  As instantaneous penetrating sense,
  In Spring's birth-hour, of other Springs gone by.
 

THE KISS

  What smouldering senses in death's sick delay
  Or seizure of malign vicissitude
  Can rob this body of honour, or denude
  This soul of wedding-raiment worn to-day?
  For lo! even now my lady's lips did play
  With these my lips such consonant interlude
  As laurelled Orpheus longed for when he wooed
  The half-drawn hungering face with that last lay.
 

  I was a child beneath her touch,—a man
  When breast to breast we clung, even I and she,—
  A spirit when her spirit looked through me,—
  A god when all our life-breath met to fan
  Our life-blood, till love's emulous ardours ran,
  Fire within fire, desire in deity.*
 

*[sic]

NUPTIAL SLEEP

  At length their long kiss severed, with sweet smart:
  And as the last slow sudden drops are shed
  From sparkling eaves when all the storm has fled,
  So singly flagged the pulses of each heart.
  Their bosoms sundered, with the opening start
  Of married flowers to either side outspread
  From the knit stem; yet still their mouths, burnt red,
  Fawned on each other where they lay apart.
 

  Sleep sank them lower than the tide of dreams,
  And their dreams watched them sink, and slid away.
  Slowly their souls swam up again, through gleams
  Of watered light and dull drowned waifs of day;
  Till from some wonder of new woods and streams
  He woke, and wondered more: for there she lay.
 

SUPREME SURRENDER

  O all the spirits of love that wander by
  Along the love-sown fallowfield of sleep
  My lady lies apparent; and the deep
  Calls to the deep; and no man sees but I.
  The bliss so long afar, at length so nigh,
  Rests there attained. Methinks proud Love must weep
  When Fate's control doth from his harvest reap
  The sacred hour for which the years did sigh.
 

  First touched, the hand now warm around my neck
  Taught memory long to mock desire: and lo!
  Across my breast the abandoned hair doth flow,
  Where one shorn tress long stirred the longing ache:
  And next the heart that trembled for its sake
  Lies the queen-heart in sovereign overthrow.
 

LOVE'S LOVERS

  Some ladies love the jewels in Love's zone
  And gold-tipped darts he hath for painless play
  In idle scornful hours he flings away;
  And some that listen to his lure's soft tone
  Do love to deem the silver praise their own;
  Some prize his blindfold sight; and there be they
  Who kissed his wings which brought him yesterday
  And thank his wings to-day that he is flown.
 

  My lady only loves the heart of Love:
  Therefore Love's heart, my lady, hath for thee
  His bower of unimagined flower and tree:
  There kneels he now, and all-anhungered of
  Thine eyes grey-lit in shadowing hair above,
  Seals with thy mouth his immortality.
 

PASSION AND WORSHIP

  One flame-winged brought a white-winged harp-player
  Even where my lady and I lay all alone;
  Saying: 'Behold, this minstrel is unknown;
  Bid him depart, for I am minstrel here:
  Only my strains are to Love's dear ones, dear.'
  Then said I: 'Through thine hautboy's rapturous tone
  Unto my lady still this harp makes moan,
  And still she deems the cadence deep and clear.'
 

  Then said my lady: 'Thou art Passion of Love,
  And this Love's Worship: both he plights to me.
  Thy mastering music walks the sunlit sea:
  But where wan water trembles in the grove
  And the wan moon is all the light thereof,
  This harp still makes my name its voluntary.'
 

THE PORTRAIT

  O Lord of all compassionate control,
  O Love! let this my lady's picture glow
  Under my hand to praise her name, and show
  Even of her inner self the perfect whole:
  That he who seeks her beauty's furthest goal,
  Beyond the light that the sweet glances throw
  And refluent wave of the sweet smile, may know
  The very sky and sea-line of her soul.
 

  Lo! it is done. Above the long lithe throat
  The mouth's mould testifies of voice and kiss,
  The shadowed eyes remember and foresee.
  Her face is made her shrine. Let all men note
  That in all years (O Love, thy gift is this!)
  They that would look on her must come to me.
 

THE LOVE-LETTER

  Warmed by her hand and shadowed by her hair
  As close she leaned and poured her heart through thee,
  Whereof the articulate throbs accompany
  The smooth black stream that makes thy whiteness fair,—
  Sweet fluttering sheet, even of her breath aware,—
  Oh let thy silent song disclose to me
  That soul wherewith her lips and eyes agree
  Like married music in Love's answering air.
 

  Fain had I watched her when, at some fond thought,
  Her bosom to the writing closelier press'd,
  And her breast's secrets peered into her breast;
  When, through eyes raised an instant, her soul sought
  My soul, and from the sudden confluence caught
  The words that made her love the loveliest.
 

THE LOVERS' WALK

  Sweet twining hedgeflowers wind-stirred in no wise
  On this June day; and hand that clings in hand:—
  Still glades; and meeting faces scarcely fann'd:—
  An osier-odoured stream that draws the skies
  Deep to its heart; and mirrored eyes in eyes:—
  Fresh hourly wonder o'er the Summer land
  Of light and cloud; and two souls softly spann'd
  With one o'erarching heaven of smiles and sighs:—
 

  Even such their path, whose bodies lean unto
  Each other's visible sweetness amorously,—
  Whose passionate hearts lean by Love's high decree
  Together on his heart for ever true,
  As the cloud-foaming firmamental blue
  Rests on the blue line of a foamless sea.





Dante Gabriel Rossetti A Vision of Fiammetta
 

ANTIPHONY

  'I love you, sweet: how can you ever learn
  How much I love you?' 'You I love even so,
  And so I learn it.' 'Sweet, you cannot know
  How fair you are.' 'If fair enough to earn
  Your love, so much is all my love's concern.'
  'My love grows hourly, sweet.' 'Mine too doth grow,
  Yet love seemed full so many hours ago!'
  Thus lovers speak, till kisses claim their turn.
 

  Ah! happy they to whom such words as these
  In youth have served for speech the whole day long,
  Hour after hour, remote from the world's throng,
  Work, contest, fame, all life's confederate pleas,—
  What while Love breathed in sighs and silences
  Through two blent souls one rapturous undersong.
 

YOUTH'S SPRING-TRIBUTE

  On this sweet bank your head thrice sweet and dear
  I lay, and spread your hair on either side,
  And see the newborn wood flowers bashful-eyed
  Look through the golden tresses here and there.
  On these debateable* borders of the year
  Spring's foot half falters; scarce she yet may know
  The leafless blackthorn-blossom from the snow;
  And through her bowers the wind's way still is clear.
 

  But April's sun strikes down the glades to-day;
  So shut your eyes upturned, and feel my kiss
  Creep, as the Spring now thrills through every spray,
  Up your warm throat to your warm lips: for this
  Is even the hour of Love's sworn suitservice,
  With whom cold hearts are counted castaway.
 

*[sic]

THE BIRTH-BOND

  Have you not noted, in some family
  Where two were born of a first marriage-bed,
  How still they own their gracious bond, though fed
  And nursed on the forgotten breast and knee?—
  How to their father's children they shall be
  In act and thought of one goodwill; but each
  Shall for the other have, in silence speech,
  And in a word complete community?
 

  Even so, when first I saw you, seemed it, love,
  That among souls allied to mine was yet
  One nearer kindred than life hinted of.
  O born with me somewhere that men forget,
  And though in years of sight and sound unmet,
  Known for my soul's birth-partner well enough!
 

A DAY OF LOVE

  Those envied places which do know her well,
  And are so scornful of this lonely place,
  Even now for once are emptied of her grace:
  Nowhere but here she is: and while Love's spell
  From his predominant presence doth compel
  All alien hours, an outworn populace,
  The hours of Love fill full the echoing space
  With sweet confederate music favourable.
 

  Now many memories make solicitous
  The delicate love-lines of her mouth, till, lit
  With quivering fire, the words take wing from it;
  As here between our kisses we sit thus
  Speaking of things remembered, and so sit
  Speechless while things forgotten call to us.
 

BEAUTY'S PAGEANT

  What dawn-pulse at the heart of heaven, or last
  Incarnate flower of culminating day,—
  What marshalled marvels on the skirts of May,
  Or song full-quired, sweet June's encomiast;
  What glory of change by nature's hand amass'd
  Can vie with all those moods of varying grace
  Which o'er one loveliest woman's form and face
  Within this hour, within this room, have pass'd?
 

  Love's very vesture and elect disguise
  Was each fine movement,—wonder new-begot
  Of lily or swan or swan-stemmed galiot;
  Joy to his sight who now the sadlier sighs,
  Parted again; and sorrow yet for eyes
  Unborn that read these words and saw her not.
 

GENIUS IN BEAUTY

  Beauty like hers is genius. Not the call
  Of Homer's or of Dante's heart sublime,—
  Not Michael's hand furrowing the zones of time,—
  Is more with compassed mysteries musical;
  Nay, not in Spring's or Summer's sweet footfall
  More gathered gifts exuberant Life bequeathes*
  Than doth this sovereign face, whose love-spell breathes
  Even from its shadowed contour on the wall.
 

  As many men are poets in their youth,
  But for one sweet-strung soul the wires prolong
  Even through all change the indomitable song;
  So in likewise the envenomed years, whose tooth
  Rends shallower grace with ruin void of ruth,
  Upon this beauty's power shall wreak no wrong.
 

*[sic]

SILENT NOON

  Your hands lie open in the long fresh grass,—
  The finger-points look through the rosy blooms:
  Your eyes smile peace. The pasture gleams and glooms
  'Neath billowing skies that scatter and amass.
  All round our nest, far as the eye can pass,
  Are golden kingcup-fields with silver edge
  Where the cow-parsley skirts the hawthorn-hedge.
  'Tis visible silence, still as the hour-glass.
 

  Deep in the sun-searched growths the dragon-fly
  Hangs like a blue thread loosened from the sky:
  So this wing'd hour is dropt to us from above.
  Oh! clasp we to our hearts, for deathless dower,
  This close-companioned inarticulate hour
  When twofold silence was the song of love.
 

GRACIOUS MOONLIGHT

  Even as the moon grows queenlier in mid-space
  When the sky darkens, and her cloud-rapt car
  Thrills with intenser radiance from afar,—
  So lambent, lady, beams thy sovereign grace
  When the drear soul desires thee. Of that face
  What shall be said,—which, like a governing star,
  Gathers and garners from all things that are
  Their silent penetrative loveliness?
 

  O'er water-daisies and wild waifs of Spring,
  There where the iris rears its gold-crowned sheaf
  With flowering rush and sceptred arrow-leaf,
  So have I marked Queen Dian, in bright ring
  Of cloud above and wave below, take wing
  And chase night's gloom, as thou the spirit's grief.
 

LOVE-SWEETNESS

  Sweet dimness of her loosened hair's downfall
  About thy face; her sweet hands round thy head
  In gracious fostering union garlanded,
  Her tremulous smiles, her glances' sweet recall
  Of love; her murmuring sighs memorial;
  Her mouth's culled sweetness by thy kisses shed
  On cheeks and neck and eyelids, and so led
  Back to her mouth which answers there for all:—
 

  What sweeter than these things, except the thing
  In lacking which all these would lose their sweet:—
  The confident heart's still fervour: the swift beat
  And soft subsidence of the spirit's wing,
  Then when it feels, in cloud—girt wayfaring,
  The breath of kindred plumes against its feet?
 

HEART'S HAVEN

  Sometimes she is a child within mine arms,
  Cowering beneath dark wings that love must chase,—
  With still tears showering and averted face,
  Inexplicably filled with faint alarms:
  And oft from mine own spirit's hurtling harms
  I crave the refuge of her deep embrace,—
  Against all ills the fortified strong place
  And sweet reserve of sovereign counter-charms.
 

  And Love, our light at night and shade at noon,
  Lulls us to rest with songs, and turns away
  All shafts of shelterless tumultuous day.
  Like the moon's growth, his face gleams through his tune;
  And as soft waters warble to the moon,
  Our answering spirits chime one roundelay.
 

LOVE'S BAUBLES

  I stood where Love in brimming armfuls bore
  Slight wanton flowers and foolish toys of fruit:
  And round him ladies thronged in warm pursuit,
  Fingered and lipped and proffered the strange store:
  And from one hand the petal and the core
  Savoured of sleep; and cluster and curled shoot
  Seemed from another hand like shame's salute,—
  Gifts that I felt my cheek was blushing for.
 

  At last Love bade my Lady give the same:
  And as I looked, the dew was light thereon;
  And as I took them, at her touch they shone
  With inmost heaven-hue of the heart of flame.
  And then Love said: 'Lo! when the hand is hers,
  Follies of love are love's true ministers.'
 

PRIDE OF YOUTH

  Even as a child, of sorrow that we give
  The dead, but little in his heart can find,
  Since without need of thought to his clear mind
  Their turn it is to die and his to live:
  Even so the winged New Love smiles to receive
  Along his eddying plumes the auroral wind,
  Nor, forward glorying, casts one look behind
  Where night-rack shrouds the Old Love fugitive.
 

  There is a change in every hour's recall,
  And the last cowslip in the fields we see
  On the same day with the first corn-poppy.
  Alas for hourly change! Alas for all
  The loves that from his hand proud Youth lets fall,
  Even as the beads of a told rosary!
 

WINGED HOURS

  Each hour until we meet is as a bird
  That wings from far his gradual way along
  The rustling covert of my soul,—his song
  Still loudlier trilled through leaves more deeply stirr'd:
  But at the hour of meeting, a clear word
  Is every note he sings, in Love's own tongue;
  Yet, Love, thou know'st the sweet strain wrong,
  Through our contending kisses oft unheard.
 

  What of that hour at last, when for her sake
  No wing may fly to me nor song may flow;
  When, wandering round my life unleaved, I
  The bloodied feathers scattered in the brake,
  And think how she, far from me, with like eyes
  Sees through the untuneful bough the wingless skies?
 

MID-RAPTURE

  Thou lovely and beloved, thou my love;
  Whose kiss seems still the first; whose summoning eyes,
  Even now, as for our love-world's new sunrise,
  Shed very dawn; whose voice, attuned above
  All modulation of the deep-bowered dove,
  Is like a hand laid softly on the soul;
  Whose hand is like a sweet voice to control
  Those worn tired brows it hath the keeping of:—
 

  What word can answer to thy word,—what gaze
  To thine, which now absorbs within its sphere
  My worshipping face, till I am mirrored there
  Light-circled in a heaven of deep-drawn rays?
  What clasp, what kiss mine inmost heart can prove,
  O lovely and beloved, O my love?
 

HEART'S COMPASS

  Sometimes thou seem'st not as thyself alone,
  But as the meaning of all things that are;
  A breathless wonder, shadowing forth afar
  Some heavenly solstice hushed and halcyon;
  Whose unstirred lips are music's visible tone;
  Whose eyes the sun-gate of the soul unbar,
  Being of its furthest fires oracular;—
  The evident heart of all life sown and mown.
 

  Even such Love is; and is not thy name Love?
  Yea, by thy hand the Love-god rends apart
  All gathering clouds of Night's ambiguous art;
  Flings them far down, and sets thine eyes above;
  And simply, as some gage of flower or glove,
  Stakes with a smile the world against thy heart.
 

SOUL-LIGHT

  What other woman could be loved like you,
  Or how of you should love possess his fill?
  After the fulness of all rapture, still,—
  As at the end of some deep avenue
  A tender glamour of day,—there comes to view
  Far in your eyes a yet more hungering thrill,—
  Such fire as Love's soul-winnowing hands distil
  Even from his inmost arc of light and dew.
 

  And as the traveller triumphs with the sun,
  Glorying in heat's mid-height, yet startide brings
  Wonder new-born, and still fresh transport springs
  From limpid lambent hours of day begun;—
  Even so, through eyes and voice, your soul doth move
  My soul with changeful light of infinite love.
 

THE MOONSTAR

  Lady, I thank thee for thy loveliness,
  Because my lady is more lovely still.
  Glorying I gaze, and yield with glad goodwill
  To thee thy tribute; by whose sweet-spun dress
  Of delicate life Love labours to assess
  My Lady's absolute queendom; saying, 'Lo!
  How high this beauty is, which yet doth show
  But as that beauty's sovereign votaress.'
 

  Lady, I saw thee with her, side by side;
  And as, when night's fair fires their queen surround,
  An emulous star too near the moon will ride,—
  Even so thy rays within her luminous bound
  Were traced no more; and by the light so drown'd,
  Lady, not thou but she was glorified.
 

LAST FIRE

  Love, through your spirit and mine what summer eve
  Now glows with glory of all things possess'd,
  Since this day's sun of rapture filled the west
  And the light sweetened as the fire took leave?
  Awhile now softlier let your bosom heave,
  As in Love's harbour, even that loving breast,
  All care takes refuge while we sink to rest,
  And mutual dreams the bygone bliss retrieve.
 

  Many the days that Winter keeps in store,
  Sunless throughout, or whose brief sun-glimpses
  Scarce shed the heaped snow through the naked trees.
  This day at least was Summer's paramour,
  Sun-coloured to the imperishable core
  With sweet well-being of love and full heart's ease.
 

HER GIFTS

  High grace, the dower of queens; and therewithal
  Some wood-born wonder's sweet simplicity;
  A glance like water brimming with the sky
  Or hyacinth-light where forest-shadows fall;
  Such thrilling pallor of cheek as doth enthral
  The heart; a mouth whose passionate forms imply
  All music and all silence held thereby;
  Deep golden locks, her sovereign coronal;
  A round reared neck, meet column of Love's shrine
  To cling to when the heart takes sanctuary;
  Hands which for ever at Love's bidding be,
  And soft-stirred feet still answering to his sign:—
  These are her gifts, as tongue may tell them o'er.
  Breathe low her name, my soul; for that means more.
 

EQUAL TROTH

  Not by one measure mayst thou mete our love;
  For how should I be loved as I love thee?—
  I, graceless, joyless, lacking absolutely
  All gifts that with thy queenship best behove;—
  Thou, throned in every heart's elect alcove,
  And crowned with garlands culled from every tree,
  Which for no head but thine, by Love's decree,
  All beauties and all mysteries interwove.
 

  But here thine eyes and lips yield soft rebuke:—
  'Then only,' (say'st thou), 'could I love thee less,
  When thou couldst doubt my love's equality.'
  Peace, sweet! If not to sum but worth we look,
  Thy heart's transcendence, not my heart's excess,
  Then more a thousandfold thou lov'st than I.
 

VENUS VICTRIX

  Could Juno's self more sovereign presence wear
  Than thou, 'mid other ladies throned in grace?—
  Or Pallas, when thou bend'st with soul-stilled face
  O'er poet's page gold-shadowed in thy hair?
  Dost thou than Venus seem less heavenly fair
  When o'er the sea of love's tumultuous trance
  Hovers thy smile, and mingles with thy glance
  That sweet voice like the last wave murmuring there?
 

  Before such triune loveliness divine
  Awestruck I ask, which goddess here most claims
  The prize that, howsoe'er adjudged, is thine?
  Then Love breathes low the sweetest of thy names;
  And Venus Victrix to my heart doth bring
  Herself, the Helen of her guerdoning.
 

THE DARK GLASS

  Not I myself know all my love for thee:
  How should I reach so far, who cannot weigh
  To-morrow's dower by gage of yesterday?
  Shall birth and death, and all dark names that be
  As doors and windows bared to some loud sea,
  Lash deaf mine ears and blind my face with spray;
  And shall my sense pierce love,—the last relay
  And ultimate outpost of eternity?
 

  Lo! what am I to Love, the lord of all?
  One murmuring shell he gathers from the sand,—
  One little heart-flame sheltered in his hand.
  Yet through thine eyes he grants me clearest call
  And veriest touch of powers primordial
  That any hour-girt life may understand.
 

THE LAMP'S SHRINE

  Sometimes I fain would find in thee some fault,
  That I might love thee still in spite of it:
  Yet how should our Lord Love curtail one whit
  Thy perfect praise whom most he would exalt?
  Alas! he can but make my heart's low vault
  Even in men's sight unworthier, being lit
  By thee, who thereby show'st more exquisite
  Like fiery chrysoprase in deep basalt.
 

  Yet will I nowise shrink; but at Love's shrine
  Myself within the beams his brow doth dart
  Will set the flashing jewel of thy heart
  In that dull chamber where it deigns to shine:
  For lo! in honour of thine excellencies
  My heart takes pride to show how poor it is.




 

LIFE-IN-LOVE

  Not in thy body is thy life at all
  But in this lady's lips and hands and eyes;
  Through these she yields the life that vivifies
  What else were sorrow's servant and death's thrall.
  Look on thyself without her, and recall
  The waste remembrance and forlorn surmise
  That lived but in a dead-drawn breath of sighs
  O'er vanished hours and hours eventual.
 

  Even so much life hath the poor tress of hair
  Which, stored apart, is all love hath to show
  For heart-beats and for fire-heats long ago;
  Even so much life endures unknown, even where,
  'Mid change the changeless night environeth,
  Lies all that golden hair undimmed in death.
 

THE LOVE-MOON

  'When that dead face, bowered in the furthest years,
  Which once was all the life years held for thee,
  Can now scarce bide the tides of memory
  Cast on thy soul a little spray of tears,—
  How canst thou gaze into these eyes of hers
  Whom now thy heart delights in, and not see
  Within each orb Love's philtred euphrasy
  Make them of buried troth remembrancers?'
 

  'Nay, pitiful Love, nay, loving Pity! Well
  Thou knowest that in these twain I have confess'd
  Two very voices of thy summoning bell.
  Nay, Master, shall not Death make manifest
  In these the culminant changes which approve
  The love-moon that must light my soul to Love?'
 

THE MORROW'S MESSAGE

  'Thou Ghost,' I said, 'and is thy name To-day?—
  Yesterday's son, with such an abject brow!—
  And can To-morrow be more pale than thou?'
  While yet I spoke, the silence answered: 'Yea,
  Henceforth our issue is all grieved and grey,
  And each beforehand makes such poor avow
  As of old leaves beneath the budding bough
  Or night-drift that the sundawn shreds away.'
 

  Then cried I: 'Mother of many malisons,
  O Earth, receive me to thy dusty bed!'
  But therewithal the tremulous silence said:
  'Lo! Love yet bids thy lady greet thee once:—
  Yea, twice,—whereby thy life is still the sun's;
  And thrice,—whereby the shadow of death is dead.'
 

SLEEPLESS DREAMS

  Girt in dark growths, yet glimmering with one star,
  O night desirous as the nights of youth!
  Why should my heart within thy spell, forsooth,
  Now beat, as the bride's finger-pulses are
  Quickened within the girdling golden bar?
  What wings are these that fan my pillow smooth?
  And why does Sleep, waved back by Joy and Ruth,
  Tread softly round and gaze at me from far?
 

  Nay, night deep-leaved! And would Love feign in thee
  Some shadowy palpitating grove that bears
  Rest for man's eyes and music for his ears?
  O lonely night! art thou not known to me,
  A thicket hung with masks of mockery
  And watered with the wasteful warmth of tears?
 

SEVERED SELVES

  Two separate divided silences,
  Which, brought together, would find loving voice;
  Two glances which together would rejoice
  In love, now lost like stars beyond dark trees;
  Two hands apart whose touch alone gives ease;
  Two bosoms which, heart-shrined with mutual flame,
  Would, meeting in one clasp, be made the same;
  Two souls, the shores wave-mocked of sundering seas:—
 

  Such are we now. Ah! may our hope forecast
  Indeed one hour again, when on this stream
  Of darkened love once more the light shall gleam?
  An hour how slow to come, how quickly past,
  Which blooms and fades, and only leaves at last,
  Faint as shed flowers, the attenuated dream.
 

THROUGH DEATH TO LOVE

  Like labour-laden moonclouds faint to flee
  From winds that sweep the winter-bitten wold,—
  Like multiform circumfluence manifold
  Of night's flood-tide,—like terrors that agree
  Of hoarse-tongued fire and inarticulate sea,—
  Even such, within some glass dimmed by our breath,
  Our hearts discern wild images of Death,
  Shadows and shoals that edge eternity.
 

  Howbeit athwart Death's imminent shade doth soar
  One Power, than flow of stream or flight of dove
  Sweeter to glide around, to brood above.
  Tell me, my heart;—what angel-greeted door
  Or threshold of wing-winnowed threshing-floor
  Hath guest fire-fledged as thine, whose lord is Love?
 

HOPE OVERTAKEN

  I deemed thy garments, O my Hope, were grey,
  So far I viewed thee. Now the space between
  Is passed at length; and garmented in green
  Even as in days of yore thou stand'st to-day.
  Ah God! and but for lingering dull dismay,
  On all that road our footsteps erst had been
  Even thus commingled, and our shadows seen
  Blent on the hedgerows and the water-way.
 

  O Hope of mine whose eyes are living love,
  No eyes but hers,—O Love and Hope the same!—
  Lean close to me, for now the sinking sun
  That warmed our feet scarce gilds our hair above.
  O hers thy voice and very hers thy name!
  Alas, cling round me, for the day is done!
 

LOVE AND HOPE

  Bless love and hope. Full many a withered year
  Whirled past us, eddying to its chill doomsday;
  And clasped together where the blown leaves lay,
  We long have knelt and wept full many a tear.
  Yet lo! one hour at last, the Spring's compeer,
  Flutes softly to us from some green byeway:*
  Those years, those tears are dead, but only they:—
  Bless love and hope, true soul; for we are here.
 

  Cling heart to heart; nor of this hour demand
  Whether in very truth, when we are dead,
  Our hearts shall wake to know Love's golden head
  Sole sunshine of the imperishable land;
  Or but discern, through night's unfeatured scope,
  Scorn-fired at length the illusive eyes of Hope.
 

*[sic]

CLOUD AND WIND

  Love, should I fear death most for you or me?
  Yet if you die, can I not follow you,
  Forcing the straits of change? Alas! but who
  Shall wrest a bond from night's inveteracy,
  Ere yet my hazardous soul put forth, to be
  Her warrant against all her haste might rue?—
  Ah! in your eyes so reached what dumb adieu,
  What unsunned gyres of waste eternity?
 

  And if I die the first, shall death be then
  A lampless watchtower whence I see you weep?—
  Or (woe is me!) a bed wherein my sleep
  Ne'er notes (as death's dear cup at last you drain),
  The hour when you too learn that all is vain
  And that Hope sows what Love shall never reap?
 

SECRET PARTING

  Because our talk was of the cloud-control
  And moon-track of the journeying face of Fate,
  Her tremulous kisses faltered at love's gate
  And her eyes dreamed against a distant goal:
  But soon, remembering her how brief the whole
  Of joy, which its own hours annihilate,
  Her set gaze gathered, thirstier than of late,
  And as she kissed, her mouth became her soul.
 

  Thence in what ways we wandered, and how strove
  To build with fire-tried vows the piteous home
  Which memory haunts and whither sleep may roam,—
  They only know for whom the roof of Love
  Is the still-seated secret of the grove,
  Nor spire may rise nor bell be heard therefrom.
 

PARTED LOVE

  What shall be said of this embattled day
  And armed occupation of this night
  By all thy foes beleaguered,—now when sight
  Nor sound denotes the loved one far away?
  Of these thy vanquished hours what shalt thou say,—
  As every sense to which she dealt delight
  Now labours lonely o'er the stark noon-height
  To reach the sunset's desolate disarray?
 

  Stand still, fond fettered wretch! while Memory's art
  Parades the Past before thy face, and lures
  Thy spirit to her passionate portraitures:
  Till the tempestuous tide-gates flung apart
  Flood with wild will the hollows of thy heart,
  And thy heart rends thee, and thy body endures.
 

BROKEN MUSIC

  The mother will not turn, who thinks she hears
  Her nursling's speech first grow articulate;
  But breathless with averted eyes elate
  She sits, with open lips and open ears,
  That it may call her twice. 'Mid doubts and fears
  Thus oft my soul has hearkened; till the song,
  A central moan for days, at length found tongue,
  And the sweet music welled and the sweet tears.
 

  But now, whatever while the soul is fain
  To list that wonted murmur, as it were
  The speech-bound sea-shell's low importunate strain,—
  No breath of song, thy voice alone is there,
  O bitterly beloved! and all her gain
  Is but the pang of unpermitted prayer.
 

DEATH-IN-LOVE

  There came an image in Life's retinue
  That had Love's wings and bore his gonfalon:
  Fair was the web, and nobly wrought thereon,
  O soul-sequestered face, thy form and hue!
  Bewildering sounds, such as Spring wakens to,
  Shook in its folds; and through my heart its power
  Sped trackless as the immemorable hour
  When birth's dark portal groaned and all was new.
 

  But a veiled woman followed, and she caught
  The banner round its staff, to furl and cling,—
  Then plucked a feather from the bearer's wing,
  And held it to his lips that stirred it not,
  And said to me, 'Behold, there is no breath:
  I and this Love are one, and I am Death.'




Dante Gabriel Rossetti A Sea Spell
 

WILLOWWOOD

I

  I sat with Love upon a woodside well,
  Leaning across the water, I and he;
  Nor ever did he speak nor looked at me,
  But touched his lute wherein was audible
  The certain secret thing he had to tell:
  Only our mirrored eyes met silently
  In the low wave; and that sound came to be
  The passionate voice I knew; and my tears fell.
 

  And at their fall, his eyes beneath grew hers;
  And with his foot and with his wing-feathers
  He swept the spring that watered my heart's drouth.
  Then the dark ripples spread to waving hair,
  And as I stooped, her own lips rising there
  Bubbled with brimming kisses at my mouth.
 

II

  And now Love sang: but his was such a song,
  So meshed with half-remembrance hard to free,
  As souls disused in death's sterility
  May sing when the new birthday tarries long.
  And I was made aware of a dumb throng
  That stood aloof, one form by every tree,
  All mournful forms, for each was I or she,
  The shades of those our days that had no tongue.
 

  They looked on us, and knew us and were known;
  While fast together, alive from the abyss,
  Clung the soul-wrung implacable close kiss;
  And pity of self through all made broken moan
  Which said, 'For once, for once, for once alone!'
  And still Love sang, and what he sang was this:—
 

III

  'O ye, all ye that walk in Willow-wood,
  That walk with hollow faces burning white;
  What fathom-depth of soul-struck widowhood,
  What long, what longer hours, one lifelong night,
  Ere ye again, who so in vain have wooed
  Your last hope lost, who so in vain invite
  Your lips to that their unforgotten food,
  Ere ye, ere ye again shall see the light!
 

  Alas! the bitter banks in Willowwood,
  With tear-spurge wan, with blood-wort burning red:
  Alas! if ever such a pillow could
  Steep deep the soul in sleep till she were dead,—
  Better all life forget her than this thing,
  That Willowwood should hold her wandering!'
 

IV

  So sang he: and as meeting rose and rose
  Together cling through the wind's wellaway
  Nor change at once, yet near the end of day
  The leaves drop loosened where the heart-stain glows,—
  So when the song died did the kiss unclose;
  And her face fell back drowned, and was as grey
  As its grey eyes; and if it ever may
  Meet mine again I know not if Love knows.
 

  Only I know that I leaned low and drank
  A long draught from the water where she sank,
  Her breath and all her tears and all her soul:
  And as I leaned, I know I felt Love's face
  Pressed on my neck with moan of pity and grace,
  Till both our heads were in his aureole.
 

WITHOUT HER

  What of her glass without her? The blank grey
  There where the pool is blind of the moon's face.
  Her dress without her? The tossed empty space
  Of cloud-rack whence the moon has passed away.
  Her paths without her? Day's appointed sway
  Usurped by desolate night. Her pillowed place
  Without her? Tears, ah me! for love's good grace,
  And cold forgetfulness of night or day.
 

  What of the heart without her? Nay, poor heart,
  Of thee what word remains ere speech be still?
  A wayfarer by barren ways and chill,
  Steep ways and weary, without her thou art,
  Where the long cloud, the long wood's counterpart,
  Sheds doubled darkness up the labouring hill.
 

LOVE'S FATALITY

  Sweet Love,—but oh! most dread Desire of Love
  Life-thwarted. Linked in gyves I saw them stand,
  Love shackled with Vain-longing, hand to hand:
  And one was eyed as the blue vault above:
  But hope tempestuous like a fire-cloud hove
  I' the other's gaze, even as in his whose wand
  Vainly all night with spell-wrought power has spann'd
  The unyielding caves of some deep treasure-trove.
 

  Also his lips, two writhen flakes of flame,
  Made moan: 'Alas O Love, thus leashed with me!
  Wing-footed thou, wing-shouldered, once born free:
  And I, thy cowering self, in chains grown tame,
  Bound to thy body and soul, named with thy name,
  Life's iron heart, even Love's Fatality.'
 

STILLBORN LOVE

  The hour which might have been yet might not be,
  Which man's and woman's heart conceived and bore
  Yet whereof life was barren,—on what shore
  Bides it the breaking of Time's weary sea?
  Bondchild of all consummate joys set free,
  It somewhere sighs and serves, and mute before
  The house of Love, hears through the echoing door
  His hours elect in choral consonancy.
 

  But lo! what wedded souls now hand in hand
  Together tread at last the immortal strand
  With eyes where burning memory lights love home?
  Lo! how the little outcast hour has turned
  And leaped to them and in their faces yearned:—
  'I am your child: O parents, ye have come!'



 


Dante Gabriel Rossetti Proserpine


 

TRUE WOMAN

I. HERSELF

  To be a sweetness more desired than Spring;
  A bodily beauty more acceptable
  Than the wild rose-tree's arch that crowns the fell;
  To be an essence more environing
  Than wine's drained juice; a music ravishing
  More than the passionate pulse of Philomel;—
  To be all this 'neath one soft bosom's swell
  That is the flower of life:—how strange a thing!
 

  How strange a thing to be what Man can know
  But as a sacred secret! Heaven's own screen
  Hides her soul's purest depth and loveliest glow;
  Closely withheld, as all things most unseen,—
  The wave-bowered pearl, the heart-shaped seal of green
  That flecks the snowdrop underneath the snow.
 

II. HER LOVE

  She loves him; for her infinite soul is Love,
  And he her lodestar. Passion in her is
  A glass facing his fire, where the bright bliss
  Is mirrored, and the heat returned. Yet move
  That glass, a stranger's amorous flame to prove,
  And it shall turn, by instant contraries,
  Ice to the moon; while her pure fire to his
  For whom it burns, clings close i' the heart's alcove.
 

  Lo! they are one. With wifely breast to breast
  And circling arms, she welcomes all command
  Of love,—her soul to answering ardours fann'd:
  Yet as morn springs or twilight sinks to rest,
  Ah! who shall say she deems not loveliest
  The hour of sisterly sweet hand-in-hand?
 

III. HER HEAVEN

  If to grow old in Heaven is to grow young,
  (As the Seer saw and said,) then blest were he
  With youth forevermore, whose heaven should be
  True Woman, she whom these weak notes have sung.
  Here and hereafter,—choir-strains of her tongue,—
  Sky-spaces of her eyes,—sweet signs that flee
  About her soul's immediate sanctuary,—
  Were Paradise all uttermost worlds among.
 

  The sunrise blooms and withers on the hill
  Like any hillflower; and the noblest troth
  Dies here to dust. Yet shall Heaven's promise clothe
  Even yet those lovers who have cherished still
  This test for love:—in every kiss sealed fast
  To feel the first kiss and forebode the last.
 

LOVE'S LAST GIFT

  Love to his singer held a glistening leaf,
  And said: 'The rose-tree and the apple-tree
  Have fruits to vaunt or flowers to lure the bee;
  And golden shafts are in the feathered sheaf
  Of the great harvest-marshal, the year's chief,
  Victorious Summer; aye, and 'neath warm sea
  Strange secret grasses lurk inviolably
  Between the filtering channels of sunk reef.
 

  All are my blooms; and all sweet blooms of love
  To thee I gave while Spring and Summer sang;
  But Autumn stops to listen, with some pang
  From those worse things the wind is moaning of.
  Only this laurel dreads no winter days:
  Take my last gift; thy heart hath sung my praise.'





Dante Gabriel Rossetti The Day Dream

 

PART II. CHANGE AND FATE

TRANSFIGURED LIFE

  As growth of form or momentary glance
  In a child's features will recall to mind
  The father's with the mother's face combin'd,—
  Sweet interchange that memories still enhance:
  And yet, as childhood's years and youth's advance,
  The gradual mouldings leave one stamp behind,
  Till in the blended likeness now we find
  A separate man's or woman's countenance:—
 

  So in the Song, the singer's Joy and Pain,
  Its very parents, evermore expand
  To bid the passion's fullgrown birth remain,
  By Art's transfiguring essence subtly spann'd;
  And from that song-cloud shaped as a man's hand
  There comes the sound as of abundant rain.
 

THE SONG-THROE

  By thine own tears thy song must tears beget,
  O Singer! Magic mirror thou hast none
  Except thy manifest heart; and save thine own
  Anguish or ardour, else no amulet.
  Cisterned in Pride, verse is the feathery jet
  Of soulless air-flung fountains; nay, more dry
  Than the Dead Sea for throats that thirst and sigh,
  That song o'er which no singer's lids grew wet.
 

  The Song-god—He the Sun-god—is no slave
  Of thine: thy Hunter he, who for thy soul
  Fledges his shaft: to no august control
  Of thy skilled hand his quivered store he gave:
  But if thy lips' loud cry leap to his smart,
  The inspir'd recoil shall pierce thy brother's heart.
 

THE SOUL'S SPHERE

  Come prisoned moon in steep cloud-fastnesses,—
  Throned queen and thralled; some dying sun whose pyre
  Blazed with momentous memorable fire;—
  Who hath not yearned and fed his heart with these?
  Who, sleepless, hath not anguished to appease
  Tragical shadow's realm of sound and sight
  Conjectured in the lamentable night?…
  Lo! the soul's sphere of infinite images!
 

  What sense shall count them? Whether it forecast
  The rose-winged hours that flutter in the van
  Of Love's unquestioning unreveale'd span,—
  Visions of golden futures: or that last
  Wild pageant of the accumulated past
  That clangs and flashes for a drowning man.
 

INCLUSIVENESS

  The changing guests, each in a different mood,
  Sit at the roadside table and arise:
  And every life among them in likewise
  Is a soul's board set daily with new food.
  What man has bent o'er his son's sleep, to brood
  How that face shall watch his when cold it lies?—
  Or thought, as his own mother kissed his eyes,
  Of what her kiss was when his father wooed?
 

  May not this ancient room thou sit'st in dwell
  In separate living souls for joy or pain?
  Nay, all its corners may be painted plain
  Where Heaven shows pictures of some life spent well;
  And may be stamped, a memory all in vain,
  Upon the sight of lidless eyes in Hell.
 

ARDOUR AND MEMORY

  The cuckoo-throb, the heartbeat of the Spring;
  The rosebud's blush that leaves it as it grows
  Into the full-eyed fair unblushing rose;
  The summer clouds that visit every wing
  With fires of sunrise and of sunsetting;
  The furtive flickering streams to light re-born
  'Mid airs new-fledged and valorous lusts of morn,
  While all the daughters of the daybreak sing:—
 

  These ardour loves, and memory: and when flown
  All joys, and through dark forest-boughs in flight
  The wind swoops onward brandishing the light,
  Even yet the rose-tree's verdure left alone
  Will flush all ruddy though the rose be gone;
  With ditties and with dirges infinite.
 

KNOWN IN VAIN

  As two whose love, first foolish, widening scope,
  Knows suddenly, with music high and soft,
  The Holy of holies; who because they scoff'd
  Are now amazed with shame, nor dare to cope
  With the whole truth aloud, lest heaven should ope;
  Yet, at their meetings, laugh not as they
  In speech; nor speak, at length; but sitting oft
  Together, within hopeless sight of hope
  For hours are silent:—So it happeneth
  When Work and Will awake too late, to gaze
  After their life sailed by, and hold their breath.
  Ah! who shall dare to search through what sad maze
  Thenceforth their incommunicable ways
  Follow the desultory feet of Death?
 

HEART OF THE NIGHT

  From child to youth; from youth to arduous man;
  From lethargy to fever of the heart;
  From faithful life to dream-dowered days apart;
  From trust to doubt; from doubt to brink of ban;—
  Thus much of change in one swift cycle ran
  Till now. Alas, the soul!—how soon must she
  Accept her primal immortality,—
  The flesh resume its dust whence it began?
 

  O Lord of work and peace! O Lord of life!
  O Lord, the awful Lord of will! though late,
  Even yet renew this soul with duteous breath:
  That when the peace is garnered in from strife,
  The work retrieved, the will regenerate,
  This soul may see thy face, O Lord of death!
 

THE LANDMARK

  Was that the landmark? What,—the foolish well
  Whose wave, low down, I did not stoop to drink,
  But sat and flung the pebbles from its brink
  In sport to send its imaged skies pell-mell,
  (And mine own image, had I noted well!)
  Was that my point of turning?—I had thought
  The stations of my course should rise unsought,
  As altar-stone or ensigned citadel.
 

  But lo! the path is missed, I must go back,
  And thirst to drink when next I reach the spring
  Which once I stained, which since may have grown black.
  Yet though no light be left nor bird now sing
  As here I turn, I'll thank God, hastening,
  That the same goal is still on the same track.
 

A DARK DAY

  The gloom that breathes upon me with these airs
  Is like the drops which strike the traveller's brow
  Who knows not, darkling, if they bring him now
  Fresh storm, or be old rain the covert bears.
  Ah! bodes this hour some harvest of new tares,
  Or hath but memory of the day whose plough
  Sowed hunger once,—the night at length when thou,
  O prayer found vain, didst fall from out my prayers?
 

  How prickly were the growths which yet how smooth,
  Along the hedgerows of this journey shed,
  Lie by Time's grace till night and sleep may soothe!
  Even as the thistledown from pathsides dead
  Gleaned by a girl in autumns of her youth,
  Which one new year makes soft her marriage-bed.
 

AUTUMN IDLENESS

  This sunlight shames November where he grieves
  In dead red leaves, and will not let him shun
  The day, though bough with bough be over-run.
  But with a blessing every glade receives
  High salutation; while from hillock-eaves
  The deer gaze calling, dappled white and dun,
  As if, being foresters of old, the sun
  Had marked them with the shade of forest-leaves.
 

  Here dawn to-day unveiled her magic glass;
  Here noon now gives the thirst and takes the dew;
  Till eve bring rest when other good things pass.
  And here the lost hours the lost hours renew
  While I still lead my shadow o'er the grass,
  Nor know, for longing, that which I should do.
 

THE HILL SUMMIT

  This feast-day of the sun, his altar there
  In the broad west has blazed for vesper-song;
  And I have loitered in the vale too long
  And gaze now a belated worshipper.
  Yet may I not forget that I was 'ware,
  So journeying, of his face at intervals
  Transfigured where the fringed horizon falls,—
  A fiery bush with coruscating hair.
 

  And now that I have climbed and won this height,
  I must tread downward through the sloping shade
  And travel the bewildered tracks till night.
  Yet for this hour I still may here be stayed
  And see the gold air and the silver fade
  And the last bird fly into the last light.





Dante Gabriel Rossetti The Beautiful Hand


 

THE CHOICE

I

  Eat thou and drink; to-morrow thou shalt die.
  Surely the earth, that's wise being very old,
  Needs not our help. Then loose me, love, and hold
  Thy sultry hair up from my face that I
  May pour for thee this yellow wine, brim-high,
  Till round the glass thy fingers glow like gold.
  We'll drown all hours: thy song, while hours toil'd,
  Shall leap, as fountains veil the changing sky.
 

  Now kiss, and think that there are really those,
  My own high-bosomed beauty, who increase
  Vain gold, vain lore, and yet might choose our way
  Through many days they toil; then comes a day
  They die not,—never having lived,—but cease;
  And round their narrow lips the mould falls close.
 

II

  Watch thou and fear; to-morrow thou shalt die.
  Or art thou sure thou shalt have time for death?
  Is not the day which God's word promiseth
  To come man knows not when? In yonder sky,
  Now while we speak, the sun speeds forth: can I
  Or thou assure him of his goal? God's breath
  Even at the moment haply quickeneth
  The air to a flame; till spirits, always nigh
  Though screened and hid, shall walk the daylight here.
 

  And dost thou prate of all that man shall do?
  Canst thou, who hast but plagues, presume to be
  Glad in his gladness that comes after thee?
  Will his strength slay thy worm in Hell? Go to:
  Cover thy countenance, and watch, and fear.
 

  Think thou and act; to-morrow thou shalt die.
  Outstretched in the sun's warmth upon the shore,
  Thou say'st: 'Man's measured path is all gone o'er:
  Up all his years, steeply, with strain and sigh,
  Man clomb* until he touched the truth; and I,
  Even I, am he whom it was destined for.'
  How should this be? Art thou then so much more
  Than they who sowed, that thou shouldst reap thereby?
 

  Nay, come up hither. From this wave-washed mound
  Unto the furthest flood-brim look with me;
  Then reach on with thy thought till it be drown'd.
  Miles and miles distant though the grey line be,
  And though thy soul sail leagues and leagues beyond,—
  Still, leagues beyond those leagues there is more sea.
 

*[sic]

OLD AND NEW ART

I. ST. LUKE THE PAINTER

  Give honour unto Luke Evangelist;
  For he it was (the aged legends say)
  Who first taught Art to fold her hands and pray.
  Scarcely at once she dared to rend the mist
  Of devious symbols: but soon having wist
  How sky-breadth and field-silence and this day
  Are symbols also in some deeper way,
  She looked through these to God and was God's priest.
 

  And if, past noon, her toil began to irk,
  And she sought talismans, and turned in vain
  To soulless self-reflections of man's skill,
  Yet now, in this the twilight, she might still
  Kneel in the latter grass to pray again,
  Ere the night cometh and she may not work.
 

II. NOT AS THESE

  'I am not as these are,' the poet saith
  In youth's pride, and the painter, among men
  At bay, where never pencil comes nor pen,
  And shut about with his own frozen breath.
  To others, for whom only rhyme wins faith
  As poets,—only paint as painters,—then
  He turns in the cold silence; and again
  Shrinking, 'I am not as these are,' he saith.
 

  And say that this is so, what follows it?
  For were thine eyes set backwards in thine head,
  Such words were well; but they see on, and far.
  Unto the lights of the great Past, new-lit
  Fair for the Future's track, look thou instead,—
  Say thou instead 'I am not as these are.'
 

III. THE HUSBANDMEN

  Though God, as one that is an householder,
  Called these to labour in his vine-yard first,
  Before the husk of darkness was well burst
  Bidding them grope their way out and bestir,
  (Who, questioned of their wages, answered, 'Sir,
  Unto each man a penny:') though the worst
  Burthen of heat was theirs and the dry thirst:
  Though God hath since found none such as these were
  To do their work like them:—Because of this
  Stand not ye idle in the market-place.
  Which of ye knoweth he is not that last
  Who may be first by faith and will?—yea, his
  The hand which after the appointed days
  And hours shall give a Future to their Past?
 

SOUL'S BEAUTY

  Under the arch of Life, where love and death,
  Terror and mystery, guard her shrine, I saw
  Beauty enthroned; and though her gaze struck awe,
  I drew it in as simply as my breath.
  Hers are the eyes which, over and beneath,
  The sky and sea bend on thee,—which can draw,
  By sea or sky or woman, to one law,
  The allotted bondman of her palm and wreath.
 

  This is that Lady Beauty, in whose praise
  Thy voice and hand shake still,—long known to thee
  By flying hair and fluttering hem,—the beat
  Following her daily of thy heart and feet,
  How passionately and irretrievably,
  In what fond flight, how many ways and days!
 

BODY'S BEAUTY

  Of Adam's first wife, Lilith, it is told
  (The witch he loved before the gift of Eve,)
  That, ere the snake's, her sweet tongue could deceive,
  And her enchanted hair was the first gold.
  And still she sits, young while the earth is old,
  And, subtly of herself contemplative,
  Draws men to watch the bright web she can weave,
  Till heart and body and life are in its hold.
 

  The rose and poppy are her flowers; for where
  Is he not found, O Lilith, whom shed scent
  And soft-shed kisses and soft sleep shall snare?
  Lo! as that youth's eyes burned at thine, so went
  Thy spell through him, and left his straight neck bent
  And round his heart one strangling golden hair.
 

THE MONOCHORD

  Is it this sky's vast vault or ocean's sound
  That is Life's self and draws my life from me,
  And by instinct ineffable decree
  Holds my breath quailing on the bitter bound?
  Nay, is it Life or Death, thus thunder-crown'd,
  That 'mid the tide of all emergency
  Now notes my separate wave, and to what sea
  Its difficult eddies labour in the ground?
 

  Oh! what is this that knows the road I came,
  The flame turned cloud, the cloud returned to flame,
  The lifted shifted steeps and all the way?—
  That draws round me at last this wind-warm space,
  And in regenerate rapture turns my face
  Upon the devious coverts of dismay?




Dante Gabriel Rossetti My Lady Greensleeves

 

FROM DAWN TO NOON

  As the child knows not if his mother's face
  Be fair; nor of his elders yet can deem
  What each most is; but as of hill or stream
  At dawn, all glimmering life surrounds his place:
  Who yet, tow'rd noon of his half-weary race,
  Pausing awhile beneath the high sun-beam
  And gazing steadily back,—as through a dream,
  In things long past new features now can trace:—
 

  Even so the thought that is at length fullgrown
  Turns back to note the sun-smit paths, all grey
  And marvellous once, where first it walked alone;
  And haply doubts, amid the unblenching day,
  Which most or least impelled its onward way,—
  Those unknown things or these things overknown.
 

MEMORIAL THRESHOLDS

  What place so strange,—though unrevealed snow
  With unimaginable fires arise
  At the earth's end,—what passion of surprise
  Like frost-bound fire-girt scenes of long ago?
  Lo! this is none but I this hour; and lo!
  This is the very place which to mine eyes
  Those mortal hours in vain immortalize,
  'Mid hurrying crowds, with what alone I know.
 

  City, of thine a single simple door,
  By some new Power reduplicate, must be
  Even yet my life-porch in eternity,
  Even with one presence filled, as once of yore
  Or mocking winds whirl round a chaff-strown floor
  Thee and thy years and these my words and me.
 

HOARDED JOY

  I said: 'Nay, pluck not,—let the first fruit be:
  Even as thou sayest, it is sweet and red,
  But let it ripen still. The tree's bent head
  Sees in the stream its own fecundity
  And bides the day of fulness. Shall not we
  At the sun's hour that day possess the shade,
  And claim our fruit before its ripeness fade,
  And eat it from the branch and praise the tree?'
 

  I say: 'Alas! our fruit hath wooed the sun
  Too long,—'tis fallen and floats adown the stream.
  Lo, the last clusters! Pluck them every one,
  And let us sup with summer; ere the gleam
  Of autumn set the year's pent sorrow free,
  And the woods wail like echoes from the sea.'
 

BARREN SPRING

  So now the changed year's turning wheel returns
  And as a girl sails balanced in the wind,
  And now before and now again behind
  Stoops as it swoops, with cheek that laughs and burns,—
  So Spring comes merry towards me now, but earns
  No answering smile from me, whose life is twin'd
  With the dead boughs that winter still must bind,
  And whom to-day the Spring no more concerns.
 

  Behold, this crocus is a withering flame;
  This snowdrop, snow; this apple-blossom's part
  To breed the fruit that breeds the serpent's art.
  Nay, for these Spring-flowers, turn thy face from them,
  Nor gaze till on the year's last lily-stem
  The white cup shrivels round the golden heart.
 

FAREWELL TO THE GLEN

  Sweet stream-fed glen, why say 'farewell' to thee
  Who far'st so well and find'st for ever smooth
  The brow of Time where man may read no ruth?
  Nay, do thou rather say 'farewell' to me,
  Who now fare forth in bitterer fantasy
  Than erst was mine where other shade might soothe
  By other streams, what while in fragrant youth
  The bliss of being sad made melancholy.
 

  And yet, farewell! For better shalt thou fare
  When children bathe sweet faces in thy flow
  And happy lovers blend sweet shadows there
  In hours to come, than when an hour ago
  Thine echoes had but one man's sighs to bear
  And thy trees whispered what he feared to know.
 

VAIN VIRTUES

  What is the sorriest thing that enters Hell?
  None of the sins,—but this and that fair deed
  Which a soul's sin at length could supersede.
  These yet are virgins, whom death's timely knell
  Might once have sainted; whom the fiends compel
  Together now, in snake-bound shuddering sheaves
  Of anguish, while the scorching bridegroom leaves
  Their refuse maidenhood abominable.
 

  Night sucks them down, the garbage of the pit,
  Whose names, half entered in the book of Life,
  Were God's desire at noon. And as their hair
  And eyes sink last, the Torturer deigns no whit
  To gaze, but, yearning, waits his worthier wife,
  The Sin still blithe on earth that sent them there.
 

LOST DAYS

  The lost days of my life until to-day,
  What were they, could I see them on the street
  Lie as they fell? Would they be ears of wheat
  Sown once for food but trodden into clay?
  Or golden coins squandered and still to pay?
  Or drops of blood dabbling the guilty feet?
  Or such spilt water as in dreams must cheat
  The throats of men in Hell, who thirst alway?
 

  I do not see them here; but after death
  God knows I know the faces I shall see,
  Each one a murdered self, with low last breath.
  'I am thyself,—what hast thou done to me?'
  'And I—and I—thyself,' (lo! each one saith,)
  'And thou thyself to all eternity!'
 

DEATH'S SONGSTERS

  When first that horse, within whose populous womb
  The birth was death, o'ershadowed Troy with fate,
  Her elders, dubious of its Grecian freight,
  Brought Helen there to sing the songs of home:
  She whispered, 'Friends, I am alone; come, come!'
  Then, crouched within, Ulysses waxed afraid,
  And on his comrades' quivering mouths he laid
  His hands, and held them till the voice was dumb.
 

  The same was he who, lashed to his own mast,
  There where the sea-flowers screen the charnel-caves,
  Beside the sirens' singing island pass'd,
  Till sweetness failed along the inveterate waves…
  Say, soul,—are songs of Death no heaven to thee,
  Nor shames her lip the cheek of Victory?
 

HERO'S LAMP*

  That lamp thou fill'st in Eros name to-night,
  O Hero, shall the Sestian augurs take
  To-morrow, and for drowned Leander's sake
  To Anteros its fireless lip shall plight.
  Aye, waft the unspoken vow: yet dawn's first light
  On ebbing storm and life twice ebb'd must break;
  While 'neath no sunrise, by the Avernian Lake,
  Lo where Love walks, Death's pallid neophyte.
 

  That lamp within Anteros' shadowy shrine
  Shall stand unlit (for so the gods decree)
  Till some one man the happy issue see
  Of a life's love, and bid its flame to shine:
  Which still may rest unfir'd; for, theirs or thine,
  O brother, what brought love to them or thee?
 

*After the deaths of Leander and Hero, the signal-lamp was dedicated to Anteros, with the edict that no man should light it unless his love had proved fortunate.

THE TREES OF THE GARDEN

  Ye who have passed Death's haggard hills; and ye
  Whom trees that knew your sires shall cease to know
  And still stand silent:—is it all a show,
  A wisp that laughs upon the wall?—decree
  Of some inexorable supremacy
  Which ever, as man strains his blind surmise
  From depth to ominous depth, looks past his eyes,
  Sphinx-faced with unabashed augury?
 

  Nay, rather question the Earth's self. Invoke
  The storm-felled forest-trees moss-grown to-day
  Whose roots are hillocks where the children play;
  Or ask the silver sapling 'neath what yoke
  Those stars, his spray-crown's clustering gems, shall wage
  Their journey still when his boughs shrink with age.
 

'RETRO ME, SATHANA!'

  Get thee behind me. Even as, heavy-curled,
  Stooping against the wind, a charioteer
  Is snatched from out his chariot by the hair,
  So shall Time be; and as the void car, hurled
  Abroad by reinless steeds, even so the world:
  Yea, even as chariot-dust upon the air,
  It shall be sought and not found anywhere.
  Get thee behind me, Satan. Oft unfurled,
  Thy perilous wings can beat and break like lath
  Much mightiness of men to win thee praise.
  Leave these weak feet to tread in narrow ways.
  Thou still, upon the broad vine-sheltered path,
  Mayst wait the turning of the phials of wrath
  For certain years, for certain months and days.
 

LOST ON BOTH SIDES

  As when two men have loved a woman well,
  Each hating each, through Love's and Death's deceit;
  Since not for either this stark marriage-sheet
  And the long pauses of this wedding bell;
  Yet o'er her grave the night and day dispel
  At last their feud forlorn, with cold and heat;
  Nor other than dear friends to death may fleet
  The two lives left that most of her can tell:—
 

  So separate hopes, which in a soul had wooed
  The one same Peace, strove with each other long,
  And Peace before their faces perished since:
  So through that soul, in restless brotherhood,
  They roam together now, and wind among
  Its bye-streets, knocking at the dusty inns.
 

THE SUN'S SHAME

I

  Beholding youth and hope in mockery caught
  From life; and mocking pulses that remain
  When the soul's death of bodily death is fain;
  Honour unknown, and honour known unsought;
  And penury's sedulous self-torturing thought
  On gold, whose master therewith buys his bane;
  And longed-for woman longing all in vain
  For lonely man with love's desire distraught;
  And wealth, and strength, and power, and pleasantness,
  Given unto bodies of whose souls men say,
  None poor and weak, slavish and foul, as they:—
  Beholding these things, I behold no less
  The blushing morn and blushing eve confess
  The shame that loads the intolerable day.
 

  As some true chief of men, bowed down with stress
  Of life's disastrous eld, on blossoming youth
  May gaze, and murmur with self-pity and ruth,
  'Might I thy fruitless treasure but possess,
  Such blessing of mine all coming years should bless;'—
  Then sends one sigh forth to the unknown goal,
  And bitterly feels breathe against his soul
  The hour swift-winged of nearer nothingness:—
 

  Even so the World's grey Soul to the green World
  Perchance one hour must cry: 'Woe's me, for whom
  Inveteracy of ill portends the doom,—
  Whose heart's old fire in shadow of shame is furl'd:
  While thou even as of yore art journeying,
  All soulless now, yet merry with the Spring!'
 

MICHELANGELO'S KISS

  Great Michelangelo, with age grown bleak
  And uttermost labours, having once o'ersaid
  All grievous memories on his long life shed,
  This worst regret to one true heart could speak:—
  That when, with sorrowing love and reverence meek,
  He stooped o'er sweet Colonna's dying bed,
  His Muse and dominant Lady, spirit-wed,
  Her hand he kissed, but not her brow or cheek.
 

  O Buonarruoti,—good at Art's fire-wheels
  To urge her chariot!—even thus the Soul,
  Touching at length some sorely-chastened goal,
  Earns oftenest but a little: her appeals
  Were deep and mute,—lowly her claim. Let be:
  What holds for her Death's garner? And for thee?
 

THE VASE OF LIFE

  Around the vase of Life at your slow pace
  He has not crept, but turned it with his hands,
  And all its sides already understands.
  There, girt, one breathes alert for some great race;
  Whose road runs far by sands and fruitful space;
  Who laughs, yet through the jolly throng has pass'd;
  Who weeps, nor stays for weeping; who at last,
  A youth, stands somewhere crowned, with silent face.
 

  And he has filled this vase with wine for blood,
  With blood for tears, with spice for burning vow,
  With watered flowers for buried love most fit;
  And would have cast it shattered to the flood,
  Yet in Fate's name has kept it whole; which now
  Stands empty till his ashes fall in it.
 

LIFE THE BELOVED

  As thy friend's face, with shadow of soul o'erspread,
  Somewhile unto thy sight perchance hath been
  Ghastly and strange, yet never so is seen
  In thought, but to all fortunate favour wed;
  As thy love's death-bound features never dead
  To memory's glass return, but contravene
  Frail fugitive days, and always keep, I ween
  Than all new life a livelier lovelihead:—
 

  So Life herself, thy spirit's friend and love,
  Even still as Spring's authentic harbinger
  Glows with fresh hours for hope to glorify;
  Though pale she lay when in the winter grove
  Her funeral flowers were snow-flakes shed on her
  And the red wings of frost-fire rent the sky.
 

A SUPERSCRIPTION

  Look in my face; my name is Might-have-been;
  I am also called No-more, Too-late, Farewell;
  Unto thine ear I hold the dead-sea shell
  Cast up thy Life's foam-fretted feet between;
  Unto thine eyes the glass where that is seen
  Which had Life's form and Love's, but by my spell
  Is now a shaken shadow intolerable,
  Of ultimate things unuttered the frail screen.
 

  Mark me, how still I am! But should there dart
  One moment through thy soul the soft surprise
  Of that winged Peace which lulls the breath of sighs,
  Then shalt thou see me smile, and turn apart
  Thy visage to mine ambush at thy heart
  Sleepless with cold commemorative eyes.
 

HE AND I

  Whence came his feet into my field, and why?
  How is it that he sees it all so drear?
  How do I see his seeing, and how hear
  The name his bitter silence knows it by?
  This was the little fold of separate sky
  Whose pasturing clouds in the soul's atmosphere
  Drew living light from one continual year:
  How should he find it lifeless? He, or I?
 

  Lo! this new Self now wanders round my field,
  With plaints for every flower, and for each tree
  A moan, the sighing wind's auxiliary:
  And o'er sweet waters of my life, that yield
  Unto his lips no draught but tears unseal'd,
  Even in my place he weeps. Even I, not he.
 

NEWBORN DEATH

I

  To-day Death seems to me an infant child
  Which her worn mother Life upon my knee
  Has set to grow my friend and play with me;
  If haply so my heart might be beguil'd
  To find no terrors in a face so mild,—
  If haply so my weary heart might be
  Unto the newborn milky eyes of thee,
  O Death, before resentment reconcil'd.
 

  How long, O Death? And shall thy feet depart
  Still a young child's with mine, or wilt thou stand
  Fullgrown the helpful daughter of my heart,
  What time with thee indeed I reach the strand
  Of the pale wave which knows thee what thou art,
  And drink it in the hollow of thy hand?
 

II

  And thou, O Life, the lady of all bliss,
  With whom, when our first heart beat full and fast,
  I wandered till the haunts of men were pass'd,
  And in fair places found all bowers amiss
  Till only woods and waves might hear our kiss,
  While to the winds all thought of Death we cast:
  Ah, Life! and must I have from thee at last
  No smile to greet me and no babe but this?
 

  Lo! Love, the child once ours; and Song, whose hair
  Blew like a flame and blossomed like a wreath;
  And Art, whose eyes were worlds by God found fair;
  These o'er the book of Nature mixed their breath
  With neck-twined arms, as oft we watched them there:
  And did these die that thou mightst bear me Death?
 

THE ONE HOPE

  When all desire at last and all regret
  Go hand in hand to death, and all is vain,
  What shall assuage the unforgotten pain
  And teach the unforgetful to forget?
  Shall Peace be still a sunk stream long unmet,—
  Or may the soul at once in a green plain
  Stoop through the spray of some sweet life-fountain
  And cull the dew-drenched flowering amulet?
 

  Ah! when the wan soul in that golden air
  Between the scriptured petals softly blown
  Peers breathless for the gift of grace unknown,
  Ah! let none other written spell soe'er
  But only the one Hope's one name be there,—
  Not less nor more, but even that word alone.

 

 

 
 
 
 
 

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