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Studies in Song

Chapter 11: FROM
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About This Book

This collection gathers lyric poems that range from public odes and historical or political meditations to intimate elegies and nature pieces, often drawing on classical models and dramatic choruses. Many poems honor literary or historical figures, adapt ancient texts, or commemorate events; others evoke the sea, rivers, launches, and evening landscapes, or contemplate love, mortality, and artistic devotion. The diction is richly musical and ornate, balancing rhetorical energy with sensory detail and occasional formal experimentation.

Nor stands the seer who raised him less august
Before us, nor in judgment frail and rathe,
Less constant or less loving or less just,
But fruitful-ripe and full of tender faith,
Holding all high and gentle names in trust
Of time for honour; so his quickening breath
Called from the darkness of their martyred dust
Our sweet Saints Alice and Elizabeth,
Revived and reinspired
With speech from heavenward fired
By love to say what Love the Archangel saith
Only, nor may such word
Save by such ears be heard
As hear the tongues of angels after death
Descending on them like a dove
Has taken all earthly sense of thought away but love.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
Poet whose large-eyed loyalty of love
Was pure toward all high poets, all their kind
And all bright words and all sweet works thereof;
Strong like the sun, and like the sunlight kind;
Heart that no fear but every grief might move
Wherewith men's hearts were bound of powers that bind;
The purest soul that ever proof could prove
From taint of tortuous or of envious mind;
Whose eyes elate and clear
Nor shame nor ever fear
But only pity or glorious wrath could blind;
Name set for love apart,
Held lifelong in my heart,
Face like a father's toward my face inclined;
No gilts like thine are mine to give,
Who by thine own words only bid thee hail, and live.

 

[1]

Thy lifelong works, Napoleon, who shall write?
Time, in his children's blood who takes delight.
From the Greek of Landor.

NOTES.

Stanza
6.See note to the Imaginary Conversation of Leofric and Godiva for the exquisite first verses extant from the hand of Landor.
10.The Poems of Walter Savage Landor: 1795. Moral Epistle, respectfully dedicated to Earl Stanhope: 1795. Gebir.
13.Count Julian: Ines de Castro: Ippolito di Este.
14, 15.Poems 'on the Dead.'
16.Imaginary Conversations: Lord Brooke and Sir Philip Sidney.
17, 18.Idyllia Nova Quinque Heroum atque Heroidum (1815): Corythus; Dryope; Pan et Pitys; Coresus et Callirrhoe; Helena ad Pudoris Aram.
19, 20.Imaginary Conversations: Oliver Cromwell and Walter Noble; Æschines and Phocion; Kosciusko and Poniatowski; Milton and Marvell; Roger Ascham and Lady Jane Grey; Tiberius and Vipsania.
21, 22, 23.Hellenics: To Corinth.
24.Hellenics: Regeneration.
25.The Hamadryad; Acon and Rhodope.
26.The Shades of Agamemnon and Iphigeneia.
27.Enallos and Cymodameia.
28.The Children of Venus.
29.Cupid and Pan.
30.The Death of Clytemnestra; The Madness of Orestes; The Prayer of Orestes.
32.The Last of Ulysses.
33.Imaginary Conversations. Lady Lisle and Elizabeth Gaunt.
35.Pro monumento super milites regio jussu interemptos.
36.The Citation and Examination of William Shakespeare.
37.Pericles and Aspasia.
38.The Pentameron.
39.Imaginary Conversations: Epicurus, Leontion, and Ternissa.
40.Marcellus and Hannibal: P. Scipio Æmilianus, Polybius, and Panætius.
41.Alexander and Priest of Ammon: Bonaparte and the President of the Senate.
42.The Empress Catherine and Princess Dashkoff.
43.Vittoria Colonna and Michel-Angelo Buonarroti.
44.Andrea of Hungary, Giovanna of Naples, Fra Rupert; a Trilogy: Five Scenes (Beatrice Cenci).
45.Luther's Parents: The Death of Hofer: (Imaginary Conversations) Andrew Hofer, Count Metternich, and the Emperor Francis; Judge Wolfgang and Henry of Melchthal: The Coronation. Tyrannicide (The Last Fruit off an Old Tree): Walter Tyrrel and William Rufus: Henry VIII. and Anne Boleyn.
46.Essex and Spenser (Imaginary Conversations): Essex and Bacon: Antony and Octavius (Scenes for the Study).
47.Critical Essays on Theocritus and Catullus.
48, 49.Heroic Idyls; Homer, Laertes, and Agatha.

'J'en passe, et des meilleurs.' But who can enumerate all or half our obligations to the illimitable and inexhaustible genius of the great man whose life and whose labour lasted even from the generation of our fathers' fathers to our own? Hardly any reader can feel, I think, so deeply as I feel the inadequacy of my poor praise and too imperfect gratitude to the majestic subject of their attempted expression; but 'such as I had have I given him.'


GRAND CHORUS OF BIRDS

FROM

ARISTOPHANES

Attempted in English verse after the original metre.

I was allured into the audacity of this experiment by consideration of a fact which hitherto does not seem to have been taken into consideration by any translator of the half divine humourist in whose incomparable genius the highest qualities of Rabelais were fused and harmonized with the supremest gifts of Shelley: namely, that his marvellous metrical invention of the anapæstic heptameter was almost exactly reproducible in a language to which all variations and combinations of anapæstic, iambic, or trochaic metre are as natural and pliable as all dactylic and spondaic forms of verse are unnatural and abhorrent. As it happens, this highest central interlude of a most adorable masterpiece is as easy to detach from its dramatic setting, and even from its lyrical context, as it was easy to give line for line of it in English. In two metrical points only does my version vary from the verbal pattern of the original. I have of course added rhymes, and double rhymes, as necessary makeweights for the imperfection of an otherwise inadequate language; and equally of course I have not attempted the impossible and undesirable task of reproducing the rare exceptional effect of a line overcharged on purpose with a preponderance of heavy-footed spondees: and this for the obvious reason that even if such a line—which I doubt—could be exactly represented, foot by foot and pause for pause, in English, this English line would no more be a verse in any proper sense of the word than is the line I am writing at this moment. And my main intention, or at least my main desire, in the undertaking of this brief adventure, was to renew as far as possible for English ears the music of this resonant and triumphant metre, which goes ringing at full gallop as of horses who

'dance as 'twere to the music
Their own hoofs make.'

I would not seem over curious in search of an apt or inapt quotation: but nothing can be fitter than a verse of Shakespeare's to praise at once and to describe the most typical verse of Aristophanes.


THE BIRDS.

(685-723.)

October 19, 1880.


OFF SHORE.

When the might of the summer
Is most on the sea;
When the days overcome her
With joy but to be,
With rapture of royal enchantment, and sorcery that sets her not free,
But for hours upon hours
As a thrall she remains
Spell-bound as with flowers
And content in their chains,
And her loud steeds fret not, and lift not a lock of their deep white manes;

AFTER NINE YEARS.

TO JOSEPH MAZZINI.

Primâ dicte mihi, summâ dicende Camenâ.

1.