Chapter 9

Round her she made an atmosphere of life, The very air seem’d lighter from her eyes, They were so soft and beautiful, and rife With all we can imagine of the skies, And pure as Psyche ere she grew a wife— Too pure even for the purest human ties; Her overpowering presence made you feel It would not be idolatry to kneel.

Her eyelashes, though dark as night, were tinged (It is the country’s custom), but in vain; For those large black eyes were so blackly fringed, The glossy rebels mock’d the jetty stain, And in their native beauty stood avenged: Her nails were touch’d with henna; but again The power of art was turn’d to nothing, for They could not look more rosy than before.

The henna should be deeply dyed to make The skin relieved appear more fairly fair; She had no need of this, day ne’er will break On mountain tops more heavenly white than her: The eye might doubt if it were well awake, She was so like a vision; I might err, But Shakspeare also says, ’tis very silly ‘To gild refined gold, or paint the lily’

Juan had on a shawl of black and gold, But a white baracan, and so transparent The sparkling gems beneath you might behold, Like small stars through the milky way apparent; His turban, furl’d in many a graceful fold, An emerald aigrette with Haidee’s hair in ’t Surmounted as its clasp—a glowing crescent, Whose rays shone ever trembling, but incessant.

And now they were diverted by their suite, Dwarfs, dancing girls, black eunuchs, and a poet, Which made their new establishment complete; The last was of great fame, and liked to show it: His verses rarely wanted their due feet; And for his theme—he seldom sung below it, He being paid to satirize or flatter, As the psalm says, ‘inditing a good matter.’

He praised the present, and abused the past, Reversing the good custom of old days, An Eastern anti-jacobin at last He turn’d, preferring pudding to no praise— For some few years his lot had been o’ercast By his seeming independent in his lays, But now he sung the Sultan and the Pacha With truth like Southey, and with verse like Crashaw.

He was a man who had seen many changes, And always changed as true as any needle; His polar star being one which rather ranges, And not the fix’d—he knew the way to wheedle: So vile he ’scaped the doom which oft avenges; And being fluent (save indeed when fee’d ill), He lied with such a fervour of intention— There was no doubt he earn’d his laureate pension.

But he had genius,—when a turncoat has it, The ‘Vates irritabilis’ takes care That without notice few full moons shall pass it; Even good men like to make the public stare:— But to my subject—let me see—what was it?— O!—the third canto—and the pretty pair— Their loves, and feasts, and house, and dress, and mode Of living in their insular abode.

Their poet, a sad trimmer, but no less In company a very pleasant fellow, Had been the favourite of full many a mess Of men, and made them speeches when half mellow; And though his meaning they could rarely guess, Yet still they deign’d to hiccup or to bellow The glorious meed of popular applause, Of which the first ne’er knows the second cause.

But now being lifted into high society, And having pick’d up several odds and ends Of free thoughts in his travels for variety, He deem’d, being in a lone isle, among friends, That, without any danger of a riot, he Might for long lying make himself amends; And, singing as he sung in his warm youth, Agree to a short armistice with truth.

He had travell’d ’mongst the Arabs, Turks, and Franks, And knew the self-loves of the different nations; And having lived with people of all ranks, Had something ready upon most occasions— Which got him a few presents and some thanks. He varied with some skill his adulations; To ‘do at Rome as Romans do,’ a piece Of conduct was which he observed in Greece.

Thus, usually, when he was ask’d to sing, He gave the different nations something national; ’Twas all the same to him—‘God save the king,’ Or ‘Ca ira,’ according to the fashion all: His muse made increment of any thing, From the high lyric down to the low rational: If Pindar sang horse-races, what should hinder Himself from being as pliable as Pindar?

In France, for instance, he would write a chanson; In England a six canto quarto tale; In Spain, he’d make a ballad or romance on The last war—much the same in Portugal; In Germany, the Pegasus he’d prance on Would be old Goethe’s (see what says De Stael); In Italy he’d ape the ‘Trecentisti;’ In Greece, he sing some sort of hymn like this t’ ye:

The isles of Greece, the Isles of Greece! Where burning Sappho loved and sung, Where grew the arts of war and peace, Where Delos rose, and Phoebus sprung! Eternal summer gilds them yet, But all, except their sun, is set.

The Scian and the Teian muse, The hero’s harp, the lover’s lute, Have found the fame your shores refuse; Their place of birth alone is mute To sounds which echo further west Than your sires’ ‘Islands of the Blest.’

The mountains look on Marathon— And Marathon looks on the sea; And musing there an hour alone, I dream’d that Greece might still be free; For standing on the Persians’ grave, I could not deem myself a slave.

A king sate on the rocky brow Which looks o’er sea-born Salamis; And ships, by thousands, lay below, And men in nations;—all were his! He counted them at break of day— And when the sun set where were they?

And where are they? and where art thou, My country? On thy voiceless shore The heroic lay is tuneless now— The heroic bosom beats no more! And must thy lyre, so long divine, Degenerate into hands like mine?

’Tis something, in the dearth of fame, Though link’d among a fetter’d race, To feel at least a patriot’s shame, Even as I sing, suffuse my face; For what is left the poet here? For Greeks a blush—for Greece a tear.

Must we but weep o’er days more blest? Must we but blush?—Our fathers bled. Earth! render back from out thy breast A remnant of our Spartan dead! Of the three hundred grant but three, To make a new Thermopylae!

What, silent still? and silent all? Ah! no;—the voices of the dead Sound like a distant torrent’s fall, And answer, ‘Let one living head, But one arise,—we come, we come!’ ’Tis but the living who are dumb.

In vain—in vain: strike other chords; Fill high the cup with Samian wine! Leave battles to the Turkish hordes, And shed the blood of Scio’s vine! Hark! rising to the ignoble call— How answers each bold Bacchanal!

You have the Pyrrhic dance as yet, Where is the Pyrrhic phalanx gone? Of two such lessons, why forget The nobler and the manlier one? You have the letters Cadmus gave— Think ye he meant them for a slave?

Fill high the bowl with Samian wine! We will not think of themes like these! It made Anacreon’s song divine: He served—but served Polycrates— A tyrant; but our masters then Were still, at least, our countrymen.

The tyrant of the Chersonese Was freedom’s best and bravest friend; That tyrant was Miltiades! O! that the present hour would lend Another despot of the kind! Such chains as his were sure to bind.

Fill high the bowl with Samian wine! On Suli’s rock, and Parga’s shore, Exists the remnant of a line Such as the Doric mothers bore; And there, perhaps, some seed is sown, The Heracleidan blood might own.

Trust not for freedom to the Franks— They have a king who buys and sells; In native swords, and native ranks, The only hope of courage dwells; But Turkish force, and Latin fraud, Would break your shield, however broad.

Fill high the bowl with Samian wine! Our virgins dance beneath the shade— I see their glorious black eyes shine; But gazing on each glowing maid, My own the burning tear-drop laves, To think such breasts must suckle slaves

Place me on Sunium’s marbled steep, Where nothing, save the waves and I, May hear our mutual murmurs sweep; There, swan-like, let me sing and die: A land of slaves shall ne’er be mine— Dash down yon cup of Samian wine!

Thus sung, or would, or could, or should have sung, The modern Greek, in tolerable verse; If not like Orpheus quite, when Greece was young, Yet in these times he might have done much worse: His strain display’d some feeling—right or wrong; And feeling, in a poet, is the source Of others’ feeling; but they are such liars, And take all colours—like the hands of dyers.

But words are things, and a small drop of ink, Falling like dew, upon a thought, produces That which makes thousands, perhaps millions, think; ’Tis strange, the shortest letter which man uses Instead of speech, may form a lasting link Of ages; to what straits old Time reduces Frail man, when paper—even a rag like this, Survives himself, his tomb, and all that ’s his.

And when his bones are dust, his grave a blank, His station, generation, even his nation, Become a thing, or nothing, save to rank In chronological commemoration, Some dull MS. oblivion long has sank, Or graven stone found in a barrack’s station In digging the foundation of a closet, May turn his name up, as a rare deposit.

And glory long has made the sages smile; ’Tis something, nothing, words, illusion, wind— Depending more upon the historian’s style Than on the name a person leaves behind: Troy owes to Homer what whist owes to Hoyle: The present century was growing blind To the great Marlborough’s skill in giving knocks, Until his late life by Archdeacon Coxe.

Milton ’s the prince of poets—so we say; A little heavy, but no less divine: An independent being in his day— Learn’d, pious, temperate in love and wine; But, his life falling into Johnson’s way, We’re told this great high priest of all the Nine Was whipt at college—a harsh sire—odd spouse, For the first Mrs. Milton left his house.

All these are, certes, entertaining facts, Like Shakspeare’s stealing deer, Lord Bacon’s bribes; Like Titus’ youth, and Caesar’s earliest acts; Like Burns (whom Doctor Currie well describes); Like Cromwell’s pranks;—but although truth exacts These amiable descriptions from the scribes, As most essential to their hero’s story, They do not much contribute to his glory.

All are not moralists, like Southey, when He prated to the world of ‘Pantisocracy;’ Or Wordsworth unexcised, unhired, who then Season’d his pedlar poems with democracy; Or Coleridge, long before his flighty pen Let to the Morning Post its aristocracy; When he and Southey, following the same path, Espoused two partners (milliners of Bath).

Such names at present cut a convict figure, The very Botany Bay in moral geography; Their loyal treason, renegado rigour, Are good manure for their more bare biography. Wordsworth’s last quarto, by the way, is bigger Than any since the birthday of typography; A drowsy frowzy poem, call’d the ‘Excursion.’ Writ in a manner which is my aversion.

He there builds up a formidable dyke Between his own and others’ intellect; But Wordsworth’s poem, and his followers, like Joanna Southcote’s Shiloh, and her sect, Are things which in this century don’t strike The public mind,—so few are the elect; And the new births of both their stale virginities Have proved but dropsies, taken for divinities.

But let me to my story: I must own, If I have any fault, it is digression— Leaving my people to proceed alone, While I soliloquize beyond expression; But these are my addresses from the throne, Which put off business to the ensuing session: Forgetting each omission is a loss to The world, not quite so great as Ariosto.

I know that what our neighbours call ‘longueurs’ (We’ve not so good a word, but have the thing In that complete perfection which ensures An epic from Bob Southey every spring), Form not the true temptation which allures The reader; but ’twould not be hard to bring Some fine examples of the epopee, To prove its grand ingredient is ennui.

We learn from Horace, ‘Homer sometimes sleeps;’ We feel without him, Wordsworth sometimes wakes,— To show with what complacency he creeps, With his dear ‘Waggoners,’ around his lakes. He wishes for ‘a boat’ to sail the deeps— Of ocean?—No, of air; and then he makes Another outcry for ‘a little boat,’ And drivels seas to set it well afloat.

If he must fain sweep o’er the ethereal plain, And Pegasus runs restive in his ‘Waggon,’ Could he not beg the loan of Charles’s Wain? Or pray Medea for a single dragon? Or if, too classic for his vulgar brain, He fear’d his neck to venture such a nag on, And he must needs mount nearer to the moon, Could not the blockhead ask for a balloon?

‘Pedlars,’ and ‘Boats,’ and ‘Waggons!’ Oh! ye shades Of Pope and Dryden, are we come to this? That trash of such sort not alone evades Contempt, but from the bathos’ vast abyss Floats scumlike uppermost, and these Jack Cades Of sense and song above your graves may hiss— The’little boatman’ and his ‘Peter Bell’ Can sneer at him who drew ‘Achitophel’!

T’ our tale.—The feast was over, the slaves gone, The dwarfs and dancing girls had all retired; The Arab lore and poet’s song were done, And every sound of revelry expired; The lady and her lover, left alone, The rosy flood of twilight’s sky admired;— Ave Maria! o’er the earth and sea, That heavenliest hour of Heaven is worthiest thee!

Ave Maria! blessed be the hour! The time, the clime, the spot, where I so oft Have felt that moment in its fullest power Sink o’er the earth so beautiful and soft, While swung the deep bell in the distant tower, Or the faint dying day-hymn stole aloft, And not a breath crept through the rosy air, And yet the forest leaves seem’d stirr’d with prayer.

Ave Maria! ’tis the hour of prayer! Ave Maria! ’tis the hour of love! Ave Maria! may our spirits dare Look up to thine and to thy Son’s above! Ave Maria! oh that face so fair! Those downcast eyes beneath the Almighty dove— What though ’tis but a pictured image?—strike— That painting is no idol,—’tis too like.

Some kinder casuists are pleased to say, In nameless print—that I have no devotion; But set those persons down with me to pray, And you shall see who has the properest notion Of getting into heaven the shortest way; My altars are the mountains and the ocean, Earth, air, stars,—all that springs from the great Whole, Who hath produced, and will receive the soul.

Sweet hour of twilight!—in the solitude Of the pine forest, and the silent shore Which bounds Ravenna’s immemorial wood, Rooted where once the Adrian wave flow’d o’er, To where the last Caesarean fortress stood, Evergreen forest! which Boccaccio’s lore And Dryden’s lay made haunted ground to me, How have I loved the twilight hour and thee!

The shrill cicadas, people of the pine, Making their summer lives one ceaseless song, Were the sole echoes, save my steed’s and mine, And vesper bell’s that rose the boughs along; The spectre huntsman of Onesti’s line, His hell-dogs, and their chase, and the fair throng Which learn’d from this example not to fly From a true lover,—shadow’d my mind’s eye.

O, Hesperus! thou bringest all good things— Home to the weary, to the hungry cheer, To the young bird the parent’s brooding wings, The welcome stall to the o’erlabour’d steer; Whate’er of peace about our hearthstone clings, Whate’er our household gods protect of dear, Are gather’d round us by thy look of rest; Thou bring’st the child, too, to the mother’s breast.

Soft hour! which wakes the wish and melts the heart Of those who sail the seas, on the first day When they from their sweet friends are torn apart; Or fills with love the pilgrim on his way As the far bell of vesper makes him start, Seeming to weep the dying day’s decay; Is this a fancy which our reason scorns? Ah! surely nothing dies but something mourns!

When Nero perish’d by the justest doom Which ever the destroyer yet destroy’d, Amidst the roar of liberated Rome, Of nations freed, and the world overjoy’d, Some hands unseen strew’d flowers upon his tomb: Perhaps the weakness of a heart not void Of feeling for some kindness done, when power Had left the wretch an uncorrupted hour.

But I’m digressing; what on earth has Nero, Or any such like sovereign buffoons, To do with the transactions of my hero, More than such madmen’s fellow man—the moon’s? Sure my invention must be down at zero, And I grown one of many ‘wooden spoons’ Of verse (the name with which we Cantabs please To dub the last of honours in degrees).

I feel this tediousness will never do— ’Tis being too epic, and I must cut down (In copying) this long canto into two; They’ll never find it out, unless I own The fact, excepting some experienced few; And then as an improvement ’twill be shown: I’ll prove that such the opinion of the critic is From Aristotle passim.—See poietikes.

CANTO THE FOURTH.

Nothing so difficult as a beginning In poesy, unless perhaps the end; For oftentimes when Pegasus seems winning The race, he sprains a wing, and down we tend, Like Lucifer when hurl’d from heaven for sinning; Our sin the same, and hard as his to mend, Being pride, which leads the mind to soar too far, Till our own weakness shows us what we are.

But Time, which brings all beings to their level, And sharp Adversity, will teach at last Man,—and, as we would hope,—perhaps the devil, That neither of their intellects are vast: While youth’s hot wishes in our red veins revel, We know not this—the blood flows on too fast; But as the torrent widens towards the ocean, We ponder deeply on each past emotion.

As boy, I thought myself a clever fellow, And wish’d that others held the same opinion; They took it up when my days grew more mellow, And other minds acknowledged my dominion: Now my sere fancy ‘falls into the yellow Leaf,’ and Imagination droops her pinion, And the sad truth which hovers o’er my desk Turns what was once romantic to burlesque.

And if I laugh at any mortal thing, ’Tis that I may not weep; and if I weep, ’Tis that our nature cannot always bring Itself to apathy, for we must steep Our hearts first in the depths of Lethe’s spring, Ere what we least wish to behold will sleep: Thetis baptized her mortal son in Styx; A mortal mother would on Lethe fix.

Some have accused me of a strange design Against the creed and morals of the land, And trace it in this poem every line: I don’t pretend that I quite understand My own meaning when I would be very fine; But the fact is that I have nothing plann’d, Unless it were to be a moment merry, A novel word in my vocabulary.

To the kind reader of our sober clime This way of writing will appear exotic; Pulci was sire of the half-serious rhyme, Who sang when chivalry was more Quixotic, And revell’d in the fancies of the time, True knights, chaste dames, huge giants, kings despotic: But all these, save the last, being obsolete, I chose a modern subject as more meet.

How I have treated it, I do not know; Perhaps no better than they have treated me Who have imputed such designs as show Not what they saw, but what they wish’d to see: But if it gives them pleasure, be it so; This is a liberal age, and thoughts are free: Meantime Apollo plucks me by the ear, And tells me to resume my story here.

Young Juan and his lady-love were left To their own hearts’ most sweet society; Even Time the pitiless in sorrow cleft With his rude scythe such gentle bosoms; he Sigh’d to behold them of their hours bereft, Though foe to love; and yet they could not be Meant to grow old, but die in happy spring, Before one charm or hope had taken wing.

Their faces were not made for wrinkles, their Pure blood to stagnate, their great hearts to fail; The blank grey was not made to blast their hair, But like the climes that know nor snow nor hail They were all summer: lightning might assail And shiver them to ashes, but to trail A long and snake-like life of dull decay Was not for them—they had too little day.

They were alone once more; for them to be Thus was another Eden; they were never Weary, unless when separate: the tree Cut from its forest root of years—the river Damm’d from its fountain—the child from the knee And breast maternal wean’d at once for ever,— Would wither less than these two torn apart; Alas! there is no instinct like the heart—

The heart—which may be broken: happy they! Thrice fortunate! who of that fragile mould, The precious porcelain of human clay, Break with the first fall: they can ne’er behold The long year link’d with heavy day on day, And all which must be borne, and never told; While life’s strange principle will often lie Deepest in those who long the most to die.

‘Whom the gods love die young,’ was said of yore, And many deaths do they escape by this: The death of friends, and that which slays even more— The death of friendship, love, youth, all that is, Except mere breath; and since the silent shore Awaits at last even those who longest miss The old archer’s shafts, perhaps the early grave Which men weep over may be meant to save.

Haidee and Juan thought not of the dead— The heavens, and earth, and air, seem’d made for them: They found no fault with Time, save that he fled; They saw not in themselves aught to condemn: Each was the other’s mirror, and but read Joy sparkling in their dark eyes like a gem, And knew such brightness was but the reflection Of their exchanging glances of affection.

The gentle pressure, and the thrilling touch, The least glance better understood than words, Which still said all, and ne’er could say too much; A language, too, but like to that of birds, Known but to them, at least appearing such As but to lovers a true sense affords; Sweet playful phrases, which would seem absurd To those who have ceased to hear such, or ne’er heard,—

All these were theirs, for they were children still, And children still they should have ever been; They were not made in the real world to fill A busy character in the dull scene, But like two beings born from out a rill, A nymph and her beloved, all unseen To pass their lives in fountains and on flowers, And never know the weight of human hours.

Moons changing had roll’d on, and changeless found Those their bright rise had lighted to such joys As rarely they beheld throughout their round; And these were not of the vain kind which cloys, For theirs were buoyant spirits, never bound By the mere senses; and that which destroys Most love, possession, unto them appear’d A thing which each endearment more endear’d.

O beautiful! and rare as beautiful But theirs was love in which the mind delights To lose itself when the old world grows dull, And we are sick of its hack sounds and sights, Intrigues, adventures of the common school, Its petty passions, marriages, and flights, Where Hymen’s torch but brands one strumpet more, Whose husband only knows her not a wh—re.

Hard words; harsh truth; a truth which many know. Enough.—The faithful and the fairy pair, Who never found a single hour too slow, What was it made them thus exempt from care? Young innate feelings all have felt below, Which perish in the rest, but in them were Inherent—what we mortals call romantic, And always envy, though we deem it frantic.