Read Ebook: The Flower of the Mind by Meynell Alice

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Ebook has 284 lines and 15470 words, and 6 pages

ROSALYND'S MADRIGAL

It may please the reader to think that this frolic, rich, and delicate singer was Shakespeare's very Rosalind. From Dr. Thomas Lodge's novel, Euphues' Golden Legacy, was taken much of the story, with some of the characters, and some few of the passages, of As You Like It.

ROSALINE

This splendid poem , written on the poet's voyage to the Islands of Terceras and the Canaries, has the fire and freshness of the south and the sea; all its colours are clear. The reader's ear will at once teach him to read the sigh "heigh ho" so as to give the first syllable the time of two .

FAREWELL TO ARMS

George Peele's four fine stanzas exist in another form, in the first person, and with some archaisms smoothed. But the third person seems to be far more touching, the old man himself having done with verse.

THE PASSIONATE SHEPHERD

The sixth stanza is perhaps by Izaak Walton.

TAKE, O TAKE THOSE LIPS AWAY

The author of this exquisite song is by no means certain. The second stanza is not with the first in Shakespeare, but it is in Beaumont and Fletcher.

KIND ARE HER ANSWERS

These verses are a more subtle experiment in metre by the musician and poet, Campion, than even the following, Laura, which he himself sweetly commended as "voluble, and fit to express any amorous conceit." In Kind are her Answers the long syllables and the trochaic movement of the short lines meet the contrary movement of the rest, with an exquisite effect of flux and reflux. The "dancers" whose time they sang must have danced like "a wave of the sea."

DIRGE

I have followed the usual practice in omitting the last and less beautiful stanza.

FOLLOW

Campion's "airs," for which he wrote his words, laid rules too urgent upon what would have been a delicate genius in poetry. The airs demanded so many stanzas; but they gave his imagination leave to be away, and they depressed and even confused his metrical play, hurting thus the two vital spots of poetry. Many of the stanzas for music make an unlucky repeating pattern with the poor variety that a repeating wall-paper does not attempt. And yet Campion began again and again with the onset of a true poet. Take, for example, the poem beginning with the vitality of this line, "touching in its majesty"-

"Awake, thou spring of speaking grace; mute rest becomes not thee!"

Who would have guessed that the piece was to close in a jogging stanza containing a reflection on the fact that brutes are speechless, with these two final lines -

"If speech be then the best of graces, Doe it not in slumber smother!"

Campion yields a curious collection of beautiful first lines.

"Sleep, angry beauty, sleep and fear not me"

is far finer than anything that follows. So is there a single gloom in this -

"Follow thy fair sun, unhappy shadow!"

And a single joy in this -

"Oh, what unhoped-for sweet supply!"

Another solitary line is one that by its splendour proves Campion the author of Cherry Ripe -

"A thousand cherubim fly in her looks."

And yet "a thousand cherubim" is a line of a poem full of the dullest kind of reasoning--curious matter for music--and of the intricate knotting of what is a very simple thread of thought. It was therefore no easy matter to choose something of Campion's for a collection of the finest work. For an historical book of representative poetry the question would be easy enough, for there Campion should appear by his glorious lyric, Cherry Ripe, by one or two poems of profounder imagination , and by a madrigal written for the music . But the work of choosing among his lyrics for the sake of beauty shows too clearly the inequality, the brevity of the inspiration, and the poet's absolute disregard of the moment of its flight and departure. A few splendid lines may be reason enough for extracting a short poem, but must not be made to bear too great a burden.

WHEN THOU MUST HOME

Of the quality of this imaginative lyric there is no doubt. It is fine throughout, as we confess even after the greatness of the opening:-

"When thou must home to shades of underground, And there arrived, a new admired guest--"

It is as solemn and fantastic at the close as at this dark and splendid opening, and throughout, past description, Elizabethan. This single poem must bind Campion to that period without question; and as he lived thirty-six years in the actual reign of Elizabeth, and printed his Book of Airs with Rosseter two years before her death, it is by no violence that we give him the name that covers our earlier poets of the great age. When thou must Home is of the day of Marlowe. It has the qualities of great poetry, and especially the quality of keeping its simplicity; and it has a quality of great simplicity not at all child-like, but adult, large, gay, credulous, tragic, sombre, and amorous.

THE FUNERAL

Donne, too, is a poet of fine onsets. It was with some hesitation that I admitted a poem having the middle stanza of this Funeral; but the earlier lines of the last are fine.

CHARIS' TRIUMPH

The freshest of Ben Jonson's lyrics have been chosen. Obviously it is freshness that he generally lacks, for all his vigour, his emphatic initiative, and his overbearing and impulsive voice in verse. There is a stale breath in that hearty shout. Doubtless it is to the credit of his honesty that he did not adopt the country- phrases in vogue; but when he takes landscape as a task the effect is ill enough. I have already had the temerity to find fault for a blunder of meaning, with the passage of a most famous lyric, where it says the contrary of what it would say -

"But might I of Jove's nectar sup I would not change for thine;"

and for doing so have encountered the anger rather than the argument of those who cannot admire a pretty lyric but they must hold reason itself to be in error rather than allow that a line of it has chanced to get turned in the rhyming.

IN EARTH

"I ever saw anything," says Charles Lamb, "like this funeral dirge, except the ditty which reminds Ferdinand of his drowned father in the Tempest. As that is of the water, watery; so this is of the earth, earthy. Both have that intentness of feeling which seems to resolve itself into the element which it contemplates."

SONG

All Drummond's poems seem to be minor poems, even at their finest, except only this. He must have known, for the creation of that poem, some more impassioned and less restless hour. It is, from the outset to the close, the sigh of a profound expectation. There is no division into stanzas, because its metre is the breath of life. One might wish that the English ode had never been written but with passion, for so written it is the most immediate of all metres; the shock of the heart and the breath of elation or grief are the law of the lines. It has passed out of the gates of the garden of stanzas, and walks in the further freedom where all is interior law. Cowley, long afterwards, wrote this Pindaric ode, and wrote it coldly. But Drummond's can never again be forgotten. With admirable judgment it was set up at the very gate of that Golden Treasury we all know so well; and, therefore, generation after generation of readers, who have never opened Drummond's poems, know this fine ode as well as they know any single poem in the whole of English literature. There was a generation that had not been taught by the Golden Treasury, and Cardinal Newman was of it. Writing to Coventry Patmore of his great odes, he called them beautiful but fragmentary; was inclined to wish that they might some day be made complete. There is nothing in all poetry more complete. Seldom is a poem in stanzas so complete but that another stanza might have made a final close; but a master's ode has the unity of life, and when it ends it ends for ever.

A poem of Drummond's has this auroral image of a blush: Anthea has blushed to hear her eyes likened to stars , and the lover tells her that the sudden increase of her beauty is futile, for he cannot admire more: "For naught thy cheeks that morn do raise." What sweet, nay, what solemn roses!

Again:

"Me here she first perceived, and here a morn Of bright carnations overspread her face."

The seventeenth century has possession of that "morn" caught once upon its uplands; nor can any custom of aftertime touch its freshness to wither it.

TO MY INCONSTANT MISTRESS

The solemn vengeance of this poem has a strange tone--not unique, for it had sounded somewhere in mediaeval poetry in Italy--but in a dreadful sense divine. At the first reading, this sentence against inconstancy, spoken by one more than inconstant, moves something like indignation; nevertheless, it is menacingly and obscurely justified, on a ground as it were beyond the common region of tolerance and pardon.

THE PULLEY

An editor is greatly tempted to mend a word in these exquisite verses. George Herbert was maladroit in using the word "rest" in two senses. "Peace" is not quite so characteristic a word, but it ought to take the place of "rest" in the last line of the second stanza; so then the first line of the last stanza would not have this rather distressing ambiguity. The poem is otherwise perfect beyond description.

MISERY

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