A Critic in Pall Mall Part 12

Or else-Art thou happy in life, or l.u.s.teth thou to die In the flower of thy days, when thy glory and thy longing bloom on high?

The last chapter of the book in which we are told of the great feast made for the dead is so finely written that we cannot refrain from quoting this pa.s.sage:

Now was the glooming falling upon the earth; but the Hall was bright within even as the Hall-Sun had promised. Therein was set forth the Treasure of the Wolfings; fair cloths were hung on the walls, goodly broidered garments on the pillars: goodly brazen cauldrons and fair-carven chests were set down in nooks where men could see them well, and vessels of gold and silver were set all up and down the tables of the feast. The pillars also were wreathed with flowers, and flowers hung garlanded from the walls over the precious hangings; sweet gums and spices were burning in fair-wrought censers of bra.s.s, and so many candles were alight under the Roof, that scarce had it looked more ablaze when the Romans had litten the f.a.ggots therein for its burning amidst the hurry of the Morning Battle.

There then they fell to feasting, hallowing in the high-tide of their return with victory in their hands: and the dead corpses of Thiodolf and Otter, clad in precious glittering raiment, looked down on them from the High-seat, and the kindreds wors.h.i.+pped them and were glad; and they drank the Cup to them before any others, were they G.o.ds or men.

In days of uncouth realism and unimaginative imitation, it is a high pleasure to welcome work of this kind. It is a work in which all lovers of literature cannot fail to delight.

_A Tale of the House of the Wolfings and all the Kindreds of the Mark_.

Written in Prose and in Verse by William Morris. (Reeves and Turner.)

SOME LITERARY NOTES (_Woman's World_, April 1889.)

'In modern life,' said Matthew Arnold once, 'you cannot well enter a monastery; but you can enter the Wordsworth Society.' I fear that this will sound to many a somewhat uninviting description of this admirable and useful body, whose papers and productions have been recently published by Professor Knight, under the t.i.tle of _Wordsworthiana_.

'Plain living and high thinking' are not popular ideals. Most people prefer to live in luxury, and to think with the majority. However, there is really nothing in the essays and addresses of the Wordsworth Society that need cause the public any unnecessary alarm; and it is gratifying to note that, although the society is still in the first blush of enthusiasm, it has not yet insisted upon our admiring Wordsworth's inferior work. It praises what is worthy of praise, reverences what should be reverenced, and explains what does not require explanation.

One paper is quite delightful; it is from the pen of Mr. Rawnsley, and deals with such reminiscences of Wordsworth as still linger among the peasantry of Westmoreland. Mr. Rawnsley grew up, he tells us, in the immediate vicinity of the present Poet-Laureate's old home in Lincolns.h.i.+re, and had been struck with the swiftness with which,

As year by year the labourer tills His wonted glebe, or lops the glades,

the memories of the poet of the Somersby Wold had 'faded from off the circle of the hills'-had, indeed, been astonished to note how little real interest was taken in him or his fame, and how seldom his works were met with in the houses of the rich or poor in the very neighbourhood.

Accordingly, when he came to reside in the Lake Country, he endeavoured to find out what of Wordsworth's memory among the men of the Dales still lingered on-how far he was still a moving presence among them-how far his works had made their way into the cottages and farmhouses of the valleys.

He also tried to discover how far the race of Westmoreland and c.u.mberland farm-folk-the 'Matthews' and the 'Michaels' of the poet, as described by him-were real or fancy pictures, or how far the characters of the Dalesmen had been altered in any remarkable manner by tourist influences during the thirty-two years that have pa.s.sed since the Lake poet was laid to rest.

With regard to the latter point, it will be remembered that Mr. Ruskin, writing in 1876, said that 'the Border peasantry, painted with absolute fidelity by Scott and Wordsworth,' are, as. .h.i.therto, a scarcely injured race; that in his fields at Coniston he had men who might have fought with Henry V. at Agincourt without being distinguished from any of his knights; that he could take his tradesmen's word for a thousand pounds, and need never latch his garden gate; and that he did not fear molestation, in wood or on moor, for his girl guests. Mr. Rawnsley, however, found that a certain beauty had vanished which the simple retirement of old valley days fifty years ago gave to the men among whom Wordsworth lived. 'The strangers,' he says, 'with their gifts of gold, their vulgarity, and their requirements, have much to answer for.' As for their impressions of Wordsworth, to understand them one must understand the vernacular of the Lake District. 'What was Mr. Wordsworth like in personal appearance?' said Mr. Rawnsley once to an old retainer, who still lives not far from Rydal Mount. 'He was a ugly-faaced man, and a mean-liver,' was the answer; but all that was really meant was that he was a man of marked features, and led a very simple life in matters of food and raiment. Another old man, who believed that Wordsworth 'got most of his poetry out of Hartley,' spoke of the poet's wife as 'a very onpleasant woman, very onpleasant indeed. A close-fisted woman, that's what she was.' This, however, seems to have been merely a tribute to Mrs. Wordsworth's admirable housekeeping qualities.

The first person interviewed by Mr. Rawnsley was an old lady who had been once in service at Rydal Mount, and was, in 1870, a lodging-house keeper at Grasmere. She was not a very imaginative person, as may be gathered from the following anecdote:-Mr. Rawnsley's sister came in from a late evening walk, and said, 'O Mrs. D---, have you seen the wonderful sunset?' The good lady turned sharply round and, drawing herself to her full height, as if mortally offended, answered: 'No, miss; I'm a tidy cook, I know, and "they say" a decentish body for a landlady, but I don't knaw nothing about sunsets or them sort of things, they've never been in my line.' Her reminiscence of Wordsworth was as worthy of tradition as it was explanatory, from her point of view, of the method in which Wordsworth composed, and was helped in his labours by his enthusiastic sister. 'Well, you know,' she said, 'Mr. Wordsworth went humming and booing about, and she, Miss Dorothy, kept close behint him, and she picked up the bits as he let 'em fall, and tak' 'em down, and put 'em together on paper for him. And you may be very well sure as how she didn't understand nor make sense out of 'em, and I doubt that he didn't know much about them either himself, but, howivver, there's a great many folk as do, I dare say.' Of Wordsworth's habit of talking to himself, and composing aloud, we hear a great deal. 'Was Mr. Wordsworth a sociable man?' asked Mr. Rawnsley of a Rydal farmer. 'Wudsworth, for a'

he had noa pride nor nowt,' was the answer, 'was a man who was quite one to hissel, ye kna. He was not a man as folks could crack wi', nor not a man as could crack wi' folks. But there was another thing as kep' folk off, he had a ter'ble girt deep voice, and ye might see his faace agaan for long enuff. I've knoan folks, village lads and la.s.ses, coming over by old road above, which runs from Grasmere to Rydal, flayt a'most to death there by Wis.h.i.+ng Gaate to hear the girt voice a groanin' and mutterin' and thunderin' of a still evening. And he had a way of standin' quite still by the rock there in t' path under Rydal, and folks could hear sounds like a wild beast coming from the rocks, and childer were scared fit to be dead a'most.'

Wordsworth's description of himself constantly recurs to one:

And who is he with modest looks, And clad in sober russet gown?

He murmurs by the running brooks, A music sweeter than their own; He is retired as noontide dew, Or fountain in a noonday grove.

But the corroboration comes in strange guise. Mr. Rawnsley asked one of the Dalesmen about Wordsworth's dress and habits. This was the reply: 'Wudsworth wore a Jem Crow, never seed him in a boxer in my life,-a Jem Crow and an old blue cloak was his rig, and _as for his habits_, _he had noan_; niver knew him with a pot i' his hand, or a pipe i' his mouth.

But he was a great skater, for a' that-noan better in these parts-why, he could cut his own naame upo' the ice, could Mr. Wudsworth.' Skating seems to have been Wordsworth's one form of amus.e.m.e.nt. He was 'over f.e.c.kless i' his hands'-could not drive or ride-'not a bit of fish in him,' and 'nowt of a mountaineer.' But he could skate. The rapture of the time when, as a boy, on Esthwaite's frozen lake, he had

wheeled about, Proud and exulting like an untired horse That cares not for his home, and, shod with steel, Had hissed along the polished ice,

was continued, Mr. Rawnsley tells us, into manhood's later day; and Mr.

Rawnsley found many proofs that the skill the poet had gained, when

Not seldom from the uproar he retired, Into a silent bay, or sportively Glanced sideways, leaving the tumultuous throng To cut across the reflex of a star,

was of such a kind as to astonish the natives among whom he dwelt. The recollection of a fall he once had, when his skate caught on a stone, still lingers in the district. A boy had been sent to sweep the snow from the White Moss Tarn for him. 'Did Mr. Wudsworth gie ye owt?' he was asked, when he returned from his labour. 'Na, but I seed him tumlle, though!' was the answer. 'He was a ter'ble girt skater, was Wudsworth now,' says one of Mr. Rawnsley's informants; 'he would put one hand i'

his breast (he wore a frill s.h.i.+rt i' them days), and t' other hand i' his waistband, same as shepherds does to keep their hands warm, and he would stand up straight and sway and swing away grandly.'

Of his poetry they did not think much, and whatever was good in it they ascribed to his wife, his sister, and Hartley Coleridge. He wrote poetry, they said, 'because he couldn't help it-because it was his hobby'-for sheer love, and not for money. They could not understand his doing work 'for nowt,' and held his occupation in somewhat light esteem because it did not bring in 'a deal o' bra.s.s to the pocket.' 'Did you ever read his poetry, or see any books about in the farmhouses?' asked Mr. Rawnsley. The answer was curious: 'Ay, ay, time or two. But ya're weel aware there's potry and potry. There's potry wi' a li'le bit pleasant in it, and potry sic as a man can laugh at or the childer understand, and some as takes a deal of mastery to make out what's said, and a deal of Wudsworth's was this sort, ye kna. You could tell fra the man's faace his potry would niver have no laugh in it. His potry was quite different work from li'le Hartley. Hartley 'ud goa running along beside o' the brooks and mak his, and goa in the first oppen door and write what he had got upo' paper. But Wudsworth's potry was real hard stuff, and bided a deal of makking, and he'd keep it in his head for long enough. Eh, but it's queer, mon, different ways folks hes of making potry now. . . . Not but what Mr. Wudsworth didn't stand very high, and was a well-spoken man enough.' The best criticism on Wordsworth that Mr.

Rawnsley heard was this: 'He was an open-air man, and a great critic of trees.'

There are many useful and well-written essays in Professor Knight's volume, but Mr. Rawnsley's is far the most interesting of all. It gives us a graphic picture of the poet as he appeared in outward semblance and manner to those about whom he wrote.

_Wordsworthiana_: _A Selection from Papers read to the Wordsworth Society_. Edited by William Knight. (Macmillan and Co.)

MR. SWINBURNE'S _POEMS AND BALLADS_ (THIRD SERIES) (_Pall Mall Gazette_, June 27, 1889.)

Mr. Swinburne once set his age on fire by a volume of very perfect and very poisonous poetry. Then he became revolutionary and pantheistic, and cried out against those that sit in high places both in heaven and on earth. Then he invented Marie Stuart and laid upon us the heavy burden of _Bothwell_. Then he retired to the nursery and wrote poems about children of a somewhat over-subtle character. He is now extremely patriotic, and manages to combine with his patriotism a strong affection for the Tory party. He has always been a great poet. But he has his limitations, the chief of which is, curiously enough, the entire lack of any sense of limit. His song is nearly always too loud for his subject.

His magnificent rhetoric, nowhere more magnificent than in the volume that now lies before us, conceals rather than reveals. It has been said of him, and with truth, that he is a master of language, but with still greater truth it may be said that Language is his master. Words seem to dominate him. Alliteration tyrannizes over him. Mere sound often becomes his lord. He is so eloquent that whatever he touches becomes unreal.

Let us turn to the poem on the Armada:

The wings of the south-west wind are widened; the breath of his fervent lips, More keen than a sword's edge, fiercer than fire, falls full on the plunging s.h.i.+ps.

The pilot is he of the northward flight, their stay and their steersman he; A helmsman clothed with the tempest, and girdled with strength to constrain the sea.

And the host of them trembles and quails, caught fast in his hand as a bird in the toils: For the wrath and the joy that fulfil him are mightier than man's, whom he slays and spoils.

And vainly, with heart divided in sunder, and labour of wavering will, The lord of their host takes counsel with hope if haply their star s.h.i.+ne still.

Somehow we seem to have heard all this before. Does it come from the fact that of all the poets who ever lived Mr. Swinburne is the one who is the most limited in imagery? It must be admitted that he is so. He has wearied us with his monotony. 'Fire' and the 'Sea' are the two words ever on his lips. We must confess also that this shrill singing-marvellous as it is-leaves us out of breath. Here is a pa.s.sage from a poem called _A Word with the Wind_:

Be the suns.h.i.+ne bared or veiled, the sky superb or shrouded, Still the waters, lax and languid, chafed and foiled, Keen and thwarted, pale and patient, clothed with fire or clouded, Vex their heart in vain, or sleep like serpents coiled.

Thee they look for, blind and baffled, wan with wrath and weary, Blown for ever back by winds that rock the bird: Winds that seamews breast subdue the sea, and bid the dreary Waves be weak as hearts made sick with hope deferred.

Let the clarion sound from westward, let the south bear token How the glories of thy G.o.dhead sound and s.h.i.+ne: Bid the land rejoice to see the land-wind's broad wings broken, Bid the sea take comfort, bid the world be thine.

Verse of this kind may be justly praised for the sustained strength and vigour of its metrical scheme. Its purely technical excellence is extraordinary. But is it more than an oratorical _tour de force_? Does it really convey much? Does it charm? Could we return to it again and again with renewed pleasure? We think not. It seems to us empty.

Of course, we must not look to these poems for any revelation of human life. To be at one with the elements seems to be Mr. Swinburne's aim.

He seeks to speak with the breath of wind and wave. The roar of the fire is ever in his ears. He puts his clarion to the lips of Spring and bids her blow, and the Earth wakes from her dreams and tells him her secret.

He is the first lyric poet who has tried to make an absolute surrender of his own personality, and he has succeeded. We hear the song, but we never know the singer. We never even get near to him. Out of the thunder and splendour of words he himself says nothing. We have often had man's interpretation of Nature; now we have Nature's interpretation of man, and she has curiously little to say. Force and Freedom form her vague message. She deafens us with her clangours.

But Mr. Swinburne is not always riding the whirlwind and calling out of the depths of the sea. Romantic ballads in Border dialect have not lost their fascination for him, and this last volume contains some very splendid examples of this curious artificial kind of poetry. The amount of pleasure one gets out of dialect is a matter entirely of temperament.

To say 'mither' instead of 'mother' seems to many the acme of romance.

There are others who are not quite so ready to believe in the pathos of provincialism. There is, however, no doubt of Mr. Swinburne's mastery over the form, whether the form be quite legitimate or not. _The __Weary Wedding_ has the concentration and colour of a great drama, and the quaintness of its style lends it something of the power of a grotesque.

The ballad of _The Witch-Mother_, a mediaeval Medea who slays her children because her lord is faithless, is worth reading on account of its horrible simplicity. _The Bride's Tragedy_, with its strange refrain of

In, in, out and in, Blaws the wind and whirls the whin:

The _Jacobite's Exile_-

O lordly flow the Loire and Seine, And loud the dark Durance: But bonnier s.h.i.+ne the braes of Tyne Than a' the fields of France; And the waves of Till that speak sae still Gleam goodlier where they glance:

_The Tyneside Widow_ and _A Reiver's Neck-verse_ are all poems of fine imaginative power, and some of them are terrible in their fierce intensity of pa.s.sion. There is no danger of English poetry narrowing itself to a form so limited as the romantic ballad in dialect. It is of too vital a growth for that. So we may welcome Mr. Swinburne's masterly experiments with the hope that things which are inimitable will not be imitated. The collection is completed by a few poems on children, some sonnets, a threnody on John William Inchbold, and a lovely lyric ent.i.tled _The Interpreters_.