Rossetti Archive Textual Transcription

Document Title: Poems. (Privately Printed.): A Proof (partial), Princeton/Troxell (copy 2)
Author: Dante Gabriel Rossetti
Date of publication: 1869 September 13
Printer: Strangeways and Walden

The full Rossetti Archive record for this transcribed document is available.

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Manuscript Addition: [DGR], 1828-1882/Poems. (Privately printed)./[London, Strangeways and Walden, 1869]/A Proofs/September 12, 1869/ Copy 2. Provenance: Joseph/Knight; A. L. Knight; Jerome/ Kern.
Editorial Description: A cover page carrying the library's description of the materials, hand printed.
Note: Pages i-ii not in this proof.
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[Most of these poems were written between 1847

and 1853; and are here printed, if not without

revision, yet generally much in their original

state. They are a few among a good many

then written, but of the others I have now no

complete copies. The ‘Sonnets and Songs’

are chiefly more recent work.]
D. G. R. 1869.
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POEMS.

(PRIVATELY PRINTED).
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Sig. B
POEMS.

THE BLESSED DAMOZEL.
  • The blessed damozel leaned out
  • From the gold bar of Heaven;
  • Her eyes were deeper than the depth
  • Of waters stilled at even;
  • She had three lilies in her hand,
  • And the stars in her hair were seven.
  • Her robe, ungirt from clasp to hem,
  • No wrought flowers did adorn,
  • But a white rose of Mary's gift,
  • 10 For service meetly worn;
  • And her hair lying down her back
  • Was yellow like ripe corn.
  • Herseemed she scarce had been a day
  • One of God's choristers;
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  • The wonder was not yet quite gone
  • From that still look of hers;
  • Albeit, to them she left, her day
  • Had counted as ten years.
  • ( To one, it is ten years of years.
  • 20 . . . Yet now, and in this place,
  • Surely she leaned o'er me—her hair
  • Fell all about my face. . . .
  • Nothing: the autumn fall of leaves.
  • The whole year sets apace.)
  • It was the rampart of God's house
  • That she was standing on;
  • By God built over the sheer depth
  • The which is Space begun;
  • So high, that looking downward thence
  • 30 She scarce could see the sun.
  • It lies in Heaven, across the flood
  • Of ether, as a bridge.
  • Beneath, the tides of day and night
  • With flame and darkness ridge
  • The void, as low as where this earth
  • Spins like a fretful midge.
  • She scarcely heard her sweet new friends;
  • Amid their loving games
  • Softly they spake among themselves
  • 40 Their virginal chaste names;
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  • And the souls mounting up to God
  • Went by her like thin flames.
  • And still she bowed above the vast
  • Waste sea of worlds that swarm;
  • Until her bosom must have made
  • The bar she leaned on warm,
  • And the lilies lay as if asleep
  • Along her bended arm.
  • From the fixed place of Heaven she saw
  • 50 Time like a pulse shake fierce
  • Through all the worlds. Her gaze still strove
  • Within the gulf to pierce
  • Its path; and now she spoke as when
  • The stars sang in their spheres.
  • The sun was gone now; the curled moon
  • Was like a little feather
  • Fluttering far down the gulf; and now
  • She spoke through the still weather.
  • Her voice was like the voice the stars
  • 60 Had when they sang together.
  • ‘I wish that he were come to me,
  • For he will come,’ she said.
  • ‘Have I not prayed in Heaven?—on earth,
  • Lord, Lord, has he not pray'd?
  • Are not two prayers a perfect strength?
  • And shall I feel afraid?
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  • ‘When round his head the aureole clings,
  • And he is clothed in white,
  • I'll take his hand and go with him
  • 70 To the deep wells of light;
  • We will step down as to a stream,
  • And bathe there in God's sight.
  • ‘We two will stand beside that shrine,
  • Occult, withheld, untrod,
  • Whose lamps are stirred continually
  • With prayer sent up to God;
  • And see our old prayers, granted, melt
  • Each like a little cloud.
  • ‘We two will lie i' the shadow of
  • 80 That living mystic tree
  • Within whose secret growth the Dove
  • Is sometimes felt to be,
  • While every leaf that his plumes touch
  • Saith his name audibly.
  • ‘And I myself will teach to him,
  • I myself, lying so,
  • The songs I sing here; which his voice
  • Shall pause in, hushed and slow,
  • And find some knowledge at each pause,
  • 90 Or some new thing to know.’
  • ( Ah Sweet! Just now, in that bird's song,
  • Strove not her accents there,
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  • Fain to be hearkened? When those bells
  • Possessed the midday air,
  • Was she not stepping to my side
  • Down all the trembling stair?)
  • ‘We two,’ she said, ‘will seek the groves
  • Where the lady Mary is,
  • With her five handmaidens, whose names
  • 100 Are five sweet symphonies,
  • Cecily, Gertrude, Magdalen,
  • Margaret and Rosalys.
  • ‘Circlewise sit they, with bound locks
  • And foreheads garlanded;
  • Into the fine cloth white like flame
  • Weaving the golden thread,
  • To fashion the birth-robes for them
  • Who are just born, being dead.
  • ‘He shall fear, haply, and be dumb:
  • 110 Then will I lay my cheek
  • To his, and tell about our love,
  • Not once abashed or weak:
  • And the dear Mother will approve
  • My pride, and let me speak.
  • ‘Herself shall bring us, hand in hand,
  • To Him round whom all souls
  • Kneel, the clear-ranged unnumbered heads
  • Bowed with their aureoles:
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  • And angels meeting us shall sing
  • 120 To their citherns and citoles.
  • ‘There will I ask of Christ the Lord
  • Thus much for him and me:—
  • Only to live as once on earth
  • With Love,—only to be,
  • As then awhile, for ever now
  • Together, I and he.’
  • She gazed and listened and then said,
  • Less sad of speech than mild,—
  • ‘All this is when he comes.’ She ceased.
  • 130 The light thrilled towards her, fill'd
  • With angels in strong level flight.
  • Her eyes prayed, and she smil'd.
  • ( I saw her smile). But soon their path
  • Was vague in distant spheres:
  • And then she cast her arms along
  • The golden barriers,
  • And laid her face between her hands,
  • And wept. ( I heard her tears.)
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NOCTURN.
  • Master of the murmuring courts
  • Where the shapes of sleep convene!—
  • When among thy dim resorts
  • This my soul in dreams hath been,
  • What of her whom it hath seen?
  • No reports
  • From those jealous courts I glean.
  • Vapourous, unaccountable,
  • Low they stand, unknown to light,
  • 10Hollow like a breathing shell.
  • Ah! that in those halls I might
  • Choose a dream for my delight!
  • I know well
  • What her sleep should tell to-night.
  • There the dreams are multitudes:
  • Some whose bouyance waits not sleep,
  • Deep within the August woods;
  • Some that hum while rest may steep
  • Weary labour laid a-heap:
  • 20 Interludes,
  • Some, of grievous moods that weep.
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  • Thence are youth's warm fancies: there
  • Women thrill with whisperings
  • Valleys full of plaintive air;
  • There breathe perfumes; there in rings
  • Whirl the foam-bewildered springs;
  • Siren there
  • Winds her dizzy hair and sings.
  • Thence the one dream mutually
  • 30 Dreamed in bridal unison,
  • Less than waking ecstasy;
  • Half-formed visions that make moan
  • In the house of birth alone;
  • And what we
  • At death's wicket see, unknown.
  • But for mine own sleep, it lies
  • In one gracious form's control,
  • Fair with honorable eyes,
  • Lamps of an auspicious soul:
  • 40 O their glance is loftiest dole,
  • Sweet and wise,
  • Wherein Love descries his goal.
  • Reft of her, my dreams are all
  • Clammy trance that fears the sky:
  • Changing footpaths shift and fall;
  • From polluted coverts nigh,
  • Miserable phantoms sigh;
  • Quakes the pall,
  • And the funeral goes by.
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  • 50As, since man waxed deathly wise,
  • Secret somewhere on this earth
  • Unpermitted Eden lies,—
  • Thus within the world's wide girth
  • Hides she from my spirit's dearth,—
  • Paradise
  • Of a love that cries for birth.
  • Master, it is soothly said
  • That, as echoes of man's speech
  • Far in secret clefts are made,
  • 60 So do all men's bodies reach
  • Shadows o'er thy sunken beach,—
  • Shape or shade
  • In those halls pourtrayed of each?
  • Ah! might I, by thy good grace
  • Groping in the windy stair,
  • (Darkness and the breath of space
  • Like loud waters everywhere,)
  • Meeting mine own image there
  • Face to face,
  • 70 Send it from that place to her!
  • Nay, not I; but oh! do thou,
  • Master, from thy shadowkind
  • Call my body's phantom now:
  • Bid it bear its face declin'd
  • Till its flight her slumbers find,
  • And her brow
  • Feel its presence bow like wind.
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  • Where in groves the gracile Spring
  • Trembles, with mute orison
  • 80Confidently strengthening,
  • Water's voice and wind's as one
  • Shed an echo in the sun,
  • Soft as Spring,
  • Master, bid it sing and moan.
  • Song shall tell how glad and strong
  • Is the night she soothes alway;
  • Moan shall grieve with that parched tongue
  • Of the brazen hours of day:
  • Sounds as of the springtide they,
  • 90 Moan and song,
  • While the chill months long for May.
  • Not the prayers which with all leave
  • The world's fluent woes prefer,—
  • Not the praise the world doth give,
  • Dulcet fulsome whisperer;—
  • Let it yield man's love to her,
  • And achieve
  • Strength that shall not grieve or err.
  • Wheresoe'er my sleep befall,
  • 100 Both at night-watch, (let it say,)
  • And where round the sundial
  • The reluctant hours of day,
  • Heartless, hopeless of their way,
  • Rest and call;—
  • There her glance doth fall and stay.
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  • Where in groves the gracile Spring
  • Trembles, with mute orison
  • Confidently strengthening,
  • Water's voice and wind's as one
  • Shed an echo in the sun,
  • Soft as Spring,
  • Master, bid it sing and moan.
  • Song shall tell how glad and strong
  • Is the night she soothes alway;
  • 10Moan shall grieve with that parched tongue
  • Of the brazen hours of day:
  • Sounds as of the springtide they,
  • Moan and song,
  • While the chill months long for May.
  • Not the prayers which with all leave
  • The world's fluent woes prefer,—
  • Not the praise the world doth give,
  • Dulcet fulsome whisperer;—
  • Let it yield man's love to her,
  • 20 And achieve
  • Strength that shall not grieve or err.
  • Wheresoe'er my sleep befall,
  • Both at night-watch, (let it say,)
  • And where round the sundial
  • The reluctant hours of day,
  • Heartless, hopeless of their way,
  • Rest and call;—
  • There her glance doth fall and stay.
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  • Suddenly her face is there:
  • So do mounting vapours wreathe
  • Subtle-scented transports where
  • The black firwood sets its teeth.
  • 110 Part the boughs and look beneath,—
  • Lilies share
  • Secret waters there, and breathe.
  • Master, bid my shadow bend
  • Whispering thus till birth of light,
  • Lest new shapes that sleep may send
  • Scatter all its work to flight;—
  • Master, master of the night,
  • Bid it spend
  • Speech, song, prayer, and end aright.
  • 120Yet, ah me! if at her head
  • There another phantom lean
  • Murmuring o'er the fragrant bed,—
  • Ah! and if my spirit's queen
  • Smile those alien prayers between,—
  • Ah! poor shade!
  • Shall it strive, or fade unseen?
  • Like a vapour wan and mute,
  • Like a flame, so let it pass;
  • One low sigh across her lute,
  • 130 One dull breath against her glass;
  • And to my sad soul, alas!
  • One salute
  • Cold as when death's foot shall pass.
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  • How should love's own messenger
  • Strive with love and be love's foe?
  • Master, nay! If thus in her,
  • Sleep a wedded heart should show,—
  • Silent let mine image go,
  • Its old share
  • 140 Of thy sunken air to know.
  • Then, too, let all hopes of mine,
  • All vain hopes by night and day,
  • Master, at thy summoning sign
  • Rise up pallid and obey.
  • Dreams, if this is thus, were they:—
  • Be they thine,
  • And to dreamland pine away.
  • (So, when some lost legion lies
  • Ambushed where no help appears,—
  • 150All night long their unseen eyes
  • Watching for the growth of spears,—
  • Like their ghosts, when morning nears,
  • Dumb they rise,
  • Ready without sighs or tears.)
  • Yet from old time, life, not death,
  • Master, in thy rule is rife:
  • Lo! through thee, with mingling breath,
  • Adam woke beside his wife.
  • O Love bring me so, for strife,
  • 160 Force and faith,
  • Bring me so not death but life!
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  • Yea, to Love himself is pour'd
  • This frail song of hope and fear.
  • Thou art Love, of one accord
  • With kind Sleep to bring her here,
  • Still-eyed, deep-eyed, ah how dear!
  • Master, Lord,
  • In her name implor'd, O hear!
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Editorial Description: Someone has written a small 30 just above the first stanza on the proof page.
Note: Lines 1-145 presumably appear on preceeding omitted pages
  • His bloodied banner crossed his mouth
  • Where he had kissed her name.
  • ‘O east, and west, and north, and south,
  • Fair flew my web, for shame,
  • 150 To guide Death's aim!’
  • The tints were shredded from his shield
  • Where he had kissed her face.
  • ‘Oh, of all gifts that I could yield,
  • Death only keeps its place,
  • My gift and grace!’
  • Then stepped a damsel to her side,
  • And spake, and needs must weep:
  • ‘For his sake, lady, if he died,
  • He prayed of thee to keep
  • 160 This staff and scrip.’
  • That night they hung above her bed,
  • Till morning wet with tears.
  • Year after year above her head
  • Her bed his token wears,
  • Five years, ten years.
  • That night the passion of her grief
  • Shook them as there they hung.
  • Each year the wind that shed the leaf
  • Shook them and in its tongue
  • 170 A message flung.
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  • And she would wake with a clear mind
  • That letters writ to calm
  • Her soul lay in the scrip; and find
  • Only a torpid balm
  • And dust of palm.
  • They shook far off with palace sport
  • When joust and dance were rife;
  • And the hunt shook them from the court;
  • For hers, in peace or strife,
  • 180 Was a Queen's life.
  • A Queen's death now: as now they shake
  • To chaunts in chapel dim,—
  • Hung where she sleeps, not seen to wake,
  • (Carved lovely white and slim),
  • With them by him.
  • Stand up to-day, still armed, with her,
  • Good knight, before His brow
  • Who then as now was here and there,
  • Who had in mind thy vow
  • 190 Then even as now.
  • The lists are set in Heaven to-day,
  • The bright pavilions shine;
  • Fair hangs thy shield, and none gainsay;
  • The trumpets sound in sign
  • That she is thine.
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  • Not tithed with days' and years' decease
  • He pays thy wage He owed,
  • But with imperishable peace
  • Here in His own abode,
  • 200 Thy jealous God.
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Note: Pages 38-48 not in this proof.
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Sig. E
STRATTON WATER.
  • ‘O have you seen the Stratton flood
  • That's great with rain to-day?
  • It runs beneath your wall, Lord Sands,
  • Full of the new-mown hay.
  • ‘I led your hounds to Hutton bank
  • To bathe at early morn:
  • They got their bath by Borrowbrake
  • Above the standing corn.’
  • Out from the castle-stair Lord Sands
  • 10 Looked up the western lea;
  • The rook was grieving on her nest,
  • The flood was round her tree.
  • Over the castle-wall Lord Sands
  • Looked down the eastern hill:
  • The stakes swam free among the boats,
  • The flood was rising still.
  • ‘What's yonder far below that lies
  • So white against the slope?’
  • ‘O it's a sail o' your bonny barks
  • 20 The waters have washed up.
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  • ‘But I have never a sail so white,
  • And the water's not yet there.’
  • ‘O it's the swans o' your bonny lake
  • The rising flood doth scare.’
  • ‘The swans they would not hold so still,
  • So high they would not win.’
  • ‘O it's Joyce my wife has spread her smock
  • And fears to fetch it in.’
  • ‘Nay, knave, it's neither sail nor swans,
  • 30 Nor aught that you can say;
  • For though your wife might leave her smock,
  • Herself she'd bring away.’
  • Lord Sands has passed the turret-stair,
  • The court, and yard, and all;
  • The kine were in the byre that day,
  • The nags were in the stall.
  • Lord Sands has won the weltering slope
  • Whereon the white shape lay:
  • The clouds were still above the hill,
  • 40 And the shape was still as they.
  • Oh pleasant is the gaze of life
  • And sad death's sightless head;
  • But awful are the living eyes
  • In the face of one thought dead.
  • ‘O Jean! and is it me, thy love,
  • Thy ghost has come to seek?’
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  • ‘But I have never a sail so white,
  • And the water's not yet there.’
  • ‘O it's the swans o' your bonny lake
  • The rising flood doth scare.’
  • ‘The swans they would not hold so still,
  • So high they would not win.’
  • ‘O it's Joyce my wife has spread her smock
  • And fears to fetch it in.’
  • ‘Nay, knave, it's neither sail nor swans,
  • 10 Nor aught that you can say;
  • For though your wife might leave her smock,
  • Herself she'd bring away.’
  • Lord Sands has passed the turret-stair,
  • The court, and yard, and all;
  • The kine were in the byre that day,
  • The nags were in the stall.
  • Lord Sands has won the weltering slope
  • Whereon the white shape lay:
  • The clouds were still above the hill,
  • 20 And the shape was still as they.
  • Oh pleasant is the gaze of life
  • And sad death's sightless head;
  • But awful are the living eyes
  • In the face of one thought dead.
  • ‘O Jean! and is it me, thy love,
  • Thy ghost has come to seek?’
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  • ‘Nay, wait another hour, Lord Sands,
  • And then my ghost shall speak.’
  • A moment stood he as a stone,
  • 50 Then grovelled to his knee.
  • ‘O Jean, O Jean my love, O love,
  • Rise up and come with me!’
  • ‘O once before you bade me come,
  • And it's here you have brought me!
  • ‘O many's the sweet word of love
  • You've spoken oft to me;
  • But all that I have from you to-day
  • Is the rain on my body.
  • ‘And many are the gifts of love
  • 60 You've promised oft to me;
  • But the gift of yours I keep to-day
  • Is the babe in my body.
  • ‘O it's not in any earthly bed
  • That first my babe I'll see;
  • For I have brought my body here
  • That the flood may cover me.’
  • His face was close against her face,
  • His hands of hers were fain:
  • O her wet cheeks were hot with tears,
  • 70 Her wet hands cold with rain.
  • ‘Now keep you well, my brother Hugh,—
  • You told me she was dead!
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  • As wan as your towers be to-day,
  • To-morrow they'll be red.
  • ‘Look down, look down, my false mother,
  • That bade me not to grieve:
  • You'll look up when our marriage fires
  • Are lit to-morrow eve.
  • ‘O more than one and more than two
  • 80 The sorrow of this shall see:
  • But it's to-morrow, love, for them,—
  • To-day's for thee and me.’
  • He's drawn her face between his hands
  • And her pale mouth to his:
  • No bird that was so still that day
  • Chirps sweeter than his kiss.
  • He's ta'en her by the short girdle
  • And by the dripping sleeve:
  • ‘Go fetch Sir Jock my mother's priest,—
  • 90 You'll ask of him no leave.
  • ‘O it's yet ten minutes to the kirk
  • And ten for the marriage-rite;
  • And kirk and castle and castle-lands
  • Shall be our babe's to-night.’
  • ‘The flood's in the kirkyard, Lord Sands,
  • And round the belfry-stair.’
  • ‘I bade ye fetch the priest,’ he said,
  • Myself shall bring him there.
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  • ‘It's for the lilt of wedding bells
  • 100 We'll have the rain to pour,
  • And for the clink of bridle-reins
  • The plashing of the oar.’
  • Beneath them on the nether hill
  • A boat was floating wide:
  • Lord Sands swam out and caught the oars
  • And backed to the hill-side.
  • He's wrapped her in a green mantle,
  • And set her softly in.
  • And ‘Oh!’ she said, ‘lie still, my babe,
  • 110 It's out you must not win!’
  • But woe was with the bonny priest
  • When the water splashed his chin.
  • The first strokes that the oars struck
  • Were over the broad leas;
  • The next strokes that the oars struck
  • They pushed beneath the trees;
  • The last stroke that the oars struck,
  • The good boat's head was met,
  • And there the door of the kirkyard
  • 120 Stood like a ferry-gate.
  • He's set his hand upon the bar
  • And lightly leaped within:
  • He's lifted her to his left shoulder,
  • Her knees beside his chin.
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  • The flood was on the graves knee-deep,
  • As still the rain came down;
  • And when the foot-stone made him slip,
  • He held by the head-stone.
  • The empty boat thrawed i' the wind,
  • 130 Against the postern tied.
  • ‘Hold still, you've brought my love with me,
  • You shall take back my bride.’
  • And ‘Oh!’ she said, ‘on men's shoulders
  • I well had thought to wend,
  • And well to travel with a priest,
  • But not to have cared or kend.
  • ‘And oh!’ she said, ‘it's well this way
  • That I thought to have fared,—
  • Not to have lighted at the kirk
  • 140 But stopped in the kirkyard.
  • ‘For it's oh and oh I prayed to God,
  • Whose rest I hoped to win,
  • That when to-night at your board-head
  • You'd bid the feast begin,
  • This water past your window-sill
  • Might bear my body in.’
  • Now make the white bed warm and soft
  • And greet the merry morn.
  • The night the mother should have died
  • 150 The young son shall be born.
Note: Pages 55-125 not in this proof.
Note: The missing pages 124-127 of this proof contained the half title for this new section of the volume as well as the first three of the sonnets
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FOR

A VENETIAN PASTORAL

By Giorgione.

( In the Louvre.)
  • Water, for anguish of the solstice:—nay,
  • But dip the vessel slowly,—nay, but lean
  • And mark how at its verge the wave sighs in
  • Reluctant. Hush! Beyond all depth away
  • The heat lies silent at the brink of day:
  • Now trails the hand upon the viol-string
  • That sobs, and the brown faces cease to sing,
  • Sad with the whole of pleasure. Her eyes stray
  • In sunset; from her mouth the pipe doth creep
  • 10 And leaves it pouting; shadowed here, the grass
  • Is cool against her naked side. Let be:—
  • Do not now speak unto her, lest she weep,
  • Nor name this ever. Be it as it was,—
  • Life touching lips with Immortality.
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FOR

AN ALLEGORICAL DANCE OF WOMEN

By Andrea Mantegna.

( In the Louvre.)
  • Scarcely, I think; yet it indeed may be
  • The meaning reached him, when this music rang
  • Clear through his frame, a sweet possessive pang,
  • And he beheld these rocks and that ridged sea.
  • But I believe that, leaning tow'rds them, he
  • Just felt their hair carried across his face
  • As each girl passed him; nor gave ear to trace
  • How many feet; nor bent assuredly
  • His eyes from the blind fixedness of thought
  • 10 To know the dancers. It is bitter glad
  • Even unto tears. Its meaning filleth it,
  • A secret of the wells of Life: to wit:—
  • The heart's each pulse shall keep the sense it had
  • With all, though the mind's labour run to nought.
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FOR

RUGGIERO AND ANGELICA

By Ingres.

( Two Sonnets.)
I.
  • A remote sky, prolonged to the sea's brim:
  • One rock-point standing buffeted alone,
  • Vexed at its base with a foul beast unknown,
  • Hell-spurge of geomaunt and teraphim:
  • A knight, and a winged creature bearing him,
  • Reared at the rock: a woman fettered there,
  • Leaning into the hollow with loose hair
  • And throat let back and heartsick trail of limb.
  • The sky is harsh, and the sea shrewd and salt:
  • 10 Under his lord the griffin-horse ramps blind
  • With rigid wings and tail. The spear's lithe stem
  • Thrills in the roaring of those jaws: behind,
  • That evil length of body chafes at fault.
  • She doth not hear nor see—she knows of them.
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II.
  • Clench thine eyes now,—'tis the last instant, girl:
  • Draw in thy senses, set thy knees, and take
  • One breath for all: thy life is keen awake,—
  • Thou mayst not swoon. Was that the scattered whirl
  • Of its foam drenched thee?—or the waves that curl
  • And split, bleak spray wherein thy temples ache?
  • Or was it his the champion's blood to flake
  • Thy flesh?—or thine own blood's anointing, girl?
  • Now, silence: for the sea's is such a sound
  • 10 As irks not silence; and except the sea,
  • All now is still. Now the dead thing doth cease
  • To writhe, and drifts. He turns to her: and she,
  • Cast from the jaws of Death, remains there, bound,
  • Again a woman in her nakedness.
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Sig. N
LILITH.

( For a Picture.)
  • 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 net she can weave,
  • Till heart and body and life are in its hold.
  • The rose and poppy are her flowers; for where
  • 10 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.
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THE CHOICE.

( Three Sonnets.)
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 hear no hours: thy song, while hours are toll'd,
  • Shall leap, as fountains veil the changing sky.
  • A jest! Conceive! Why, there are really those,
  • 10 My own high-bosomed lady, who increase
  • Vain gold, vain lore, in reach of our true wealth!
  • Eleven long days they toil: upon the twelfth
  • They die not,—never having lived,—but cease;
  • And round their narrow lips the mould falls close.
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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 sets forth: Can I
  • Or thou assure him of his goal? God's breath
  • Perchance even at this moment quickeneth
  • The air to a flame; till spirits, always nigh
  • Though screened and hid, shall walk the daylight here.
  • 10 And dost thou prate of that which 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.
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III.
  • Think thou and act; to-morrow thou shalt die.
  • Stretching thyself i' the sun upon the shore,
  • Thou say'st: ‘Man's measured path is all gone o'er:
  • Up all his years, steeply, with pant 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
  • 10 Unto the horizon-brim look thou with me;
  • Then reach on with thy thought till it be drown'd.
  • Miles and miles distant though the horizon be,
  • And though thy thought sail leagues and leagues beyond,—
  • Still, leagues beyond those leagues, there is more sea.
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HAND AND SOUL.
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HAND AND SOUL.
  • ‘Rivolsimi in quel lato
  • Là onde venia la voce,
  • E parvemi una luce
  • Che lucea quanto stella:
  • La mia mente era quella.’
Bonaggiunta Urbiciani, (1250.)
Before any knowledge of painting was brought to

Florence, there were already painters in Lucca, and Pisa,

and Arezzo, who feared God and loved the art. The

workmen from Greece, whose trade it was to sell their own

works in Italy and teach Italians to imitate them, had

already found, in rivals of the soil, a skill that could forestall

their lessons and cheapen their crucifixes and addolorate,

more years than is supposed before the art came at all into

Florence. The pre-eminence to which Cimabue was raised

at once by his contemporaries, and which he still retains to

a wide extent even in the modern mind, is to be accounted

for, partly by the circumstances under which he arose, and

partly by that extraordinary purpose of fortune born with the

lives of some few, and through which it is not a little thing

for any who went before, if they are even remembered as

the shadows of the coming of such an one, and the voices

which prepared his way in the wilderness. It is thus, almost
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exclusively, that the painters of whom I speak are now

known. They have left little, and but little heed is taken of

that which men hold to have been surpassed; it is gone like

time gone,—a track of dust and dead leaves that merely led

to the fountain.
Nevertheless, of very late years and in very rare in-

stances, some signs of a better understanding have become

manifest. A case in point is that of the triptych and two

cruciform pictures at Dresden, by Chiaro di Messer Bello

dell' Erma, to which the eloquent pamphlet of Dr. Aemmster

has at length succeeded in attracting the students. There

is another still more solemn and beautiful work, now proved

to be by the same hand, in the Pitti gallery at Florence.

It is the one to which my narrative will relate.

This Chiaro dell' Erma was a young man of very

honorable family in Arezzo; where, conceiving art almost,

for himself, and loving it deeply, he endeavoured from

early boyhood towards the imitation of any objects offered

in nature. The extreme longing after a visible embodiment

of his thoughts strengthened as his years increased, more

even than his sinews or the blood of his life; until he would

feel faint in sunsets and at the sight of stately persons.

When he had lived nineteen years, he heard of the famous

Giunta Pisano; and, feeling much of admiration, with per-

haps a little of that envy which youth always feels until it

has learned to measure success by time and opportunity, he
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determined that he would seek out Giunta, and, if possible,

become his pupil.
Having arrived in Pisa, he clothed himself in humble

apparel, being unwilling that any other thing than the desire

he had for knowledge should be his plea with the great

painter; and then, leaving his baggage at a house of enter-

tainment, he took his way along the street, asking whom he

met for the lodging of Giunta. It soon chanced that one of

that city, conceiving him to be a stranger and poor, took

him into his house and refreshed him; afterwards directing

him on his way.
When he was brought to speech of Giunta, he said

merely that he was a student, and that nothing in the world

was so much at his heart as to become that which he had

heard told of him with whom he was speaking. He was

received with courtesy and consideration, and soon stood

among the works of the famous artist. But the forms he saw

there were lifeless and incomplete; and a sudden exultation

possessed him as he said within himself, ‘I am the master

of this man.’ The blood came at first into his face, but the

next moment he was quite pale and fell to trembling. He

was able, however to conceal his emotion; speaking very

little to Giunta, but when he took his leave, thanking him

respectfully.
After this, Chiaro's first resolve was, that he would work

out thoroughly some of his thoughts, and let the world

know him. But the lesson which he had now learned, of

how small a greatness might win fame, and how little there

was to strive against, served to make him torpid, and ren-
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dered his exertions less continual. Also Pisa was a larger

and more luxurious city than Arezzo; and when, in his

walks, he saw the great gardens laid out for pleasure, and

the beautiful women who passed to and fro, and heard the

music that was in the groves of the city at evening, he was

taken with wonder that he had never claimed his share of

the inheritance of those years in which his youth was cast.

And women loved Chiaro; for, in despite of the burthen of

study, he was well-favoured and very manly in his walking;

and, seeing his face in front, there was a glory upon it, as