Part 22

The foremost Scoto-Celtic poet of our time, was born in Glasgow, 1841. It would be needless to give particulars concerning the life and work of so eminent a contemporary. Lovers of the Celtic Muse will doubtless be familiar (or if not, ought to be) with Mr Buchanan’s _Book of Orm_. Much of his early poetry is strongly imbued with the Celtic atmosphere. Those who have read his several volumes of verse need no further guidance, but readers unacquainted with the poetical work of one of the foremost poets of our day should obtain the collective edition of his poems published by Messrs Chatto & Windus. “The Flower of the World” (page 224), “The Dream of the World without Death” (pages 228-234) are from _The Book of Orm_; “The Strange Country” comes from _Miscellaneous Poems and Ballads_ (1878-1883). No more memorable poem than “The Dream” has been written by an Anglo-Celtic poet.

LORD BYRON. (1788-1824.) PAGES 238-239

Byron is represented in _Lyra Celtica_ by virtue of his Celtic blood and undoubtedly Celtic nature, rather than because there is much trace of Celtic influence in his poetry. The two lyrics given here may be taken as fairly representative of that part of his poetical work which may with some reason be called Celtic, though, of course, there is nothing in them which radically differentiates them from the lyrics of any English poet. More than one eminent critic, foreign as well as British, has claimed for Byron that he was the representative Celtic voice of the early part of the century; but Byron was really much more the voice of his own day and time than anything more restricted.

CRODH CHAILLEAN. PAGE 240

This familiar Highland Milking Song is given in the translation of Dr Alexander Stewart of Nether Lochaber.

MACCRIMMON’S LAMENT. PAGE 241

Perhaps the most famous pipe-tune in the Highlands is the “Cumha mhic Criomein,” composed by Donald Bàn MacCrimmon, on the occasion of the Clan MacLeod, headed by their chief, embarking to join the Royalists in 1746. The Lament is said to have been composed by Donald Bàn under the influence of a presentiment that he as well as many others of the clan would never return; a presentiment fulfilled, for he was killed in a skirmish near Moyhall. The tune and the chorus are old, but it is commonly believed the poem was composed by Dr Norman Macleod; at any rate, they first appeared in a Gaelic article on the MacCrimmons, which he contributed in 1840 to “Cuairtear nan Gleann” (“Fionn,” the _Celtic Monthly_). The translation here given is that of Professor Blackie.

IAN CAMERON (“IAN MOR”). PAGE 242

Translated from the Gaelic by Miss Fiona Macleod.

JOHN DAVIDSON. PAGE 243

Mr Davidson was born at Barrhead, near Paisley, on April 11th, 1857. After his preliminary education at the Highlanders’ Academy, Greenock, he went to Edinburgh University. For a time he taught in Greenock, and also gained a certain amount of literary experience in occasional contributions to the _Glasgow Herald_ and other papers. In 1886 he published _Bruce: a Drama_, followed by _Smith: a Tragedy_ (1888), _Scaramouch in Naxos: and other Places_ (1889), _In a Music Hall, and other Poems_ (1891), _Fleet Street Eclogues_ (1893), _Ballads and Songs_ (1894), _Second Series of Fleet Street Eclogues_ (1895), besides several volumes of prose papers and fiction. Although _Bruce_ was Mr Davidson’s first published work, he had begun to write at a much earlier period: his _An Historical Pastoral_ was composed in 1877; _A Romantic Farce_ in 1878; while _Bruce_ was written four years before its publication. Mr Davidson’s later poetical writings have been mainly in the form of songs and lyrical ballads, and these have placed him in the foremost rank of the younger poets of to-day. He has the widest range, the largest manner, and the intensest note of any of the later Victorians. The two poems by which he is represented here are eminently characteristic, and none the less Celtic in their essential quality from the fact that the one deals with a loafer of the London streets and the other with a scenic rendering of an impression gained in Romney Marsh. Mr Davidson’s latest writings are “The Ballad of an Artist’s Wife,” not as yet issued in book form, and the just published second series of the _Fleet Street Eclogues_ (John Lane). Both “A Loafer” and “In Romney Marsh” are from _Ballads and Songs_.

JEAN GLOVER. (1758-1800.) PAGE 246

The author of “O’er the Muir amang the Heather” was the daughter of a Highland weaver settled in Kilmarnock. She married a strolling actor, and her fugitive songs became familiar throughout the West of Scotland. “O’er the Muir amang the Heather” has become a classic.

GEORGE MACDONALD. PAGE 247

This popular Scottish novelist and poet was born at Huntly, in Aberdeenshire, December 10, 1824. As a novelist he has almost as large an audience as have any of his contemporary romancists. His poems are less widely known, though in them he has expressed himself with great variety and subtlety. The Celtic element is not conspicuous in Dr Macdonald’s work either in prose or verse; but sometimes, as in the little song “Oimè,” quoted here, it finds adequate expression. This song is from his early volume _Within and Without_.

RONALD CAMPBELL MACFIE. PAGE 249

The author of _Granite Dust_ (Kegan Paul) is one of the most promising of the younger Celtic Scots.

WILLIAM MACDONALD. PAGE 250

One of the band of young writers associated with _The Evergreen_ (Patrick Geddes and Colleagues, Edinburgh). Mr Macdonald has not yet issued his poems in book form.

AMICE MACDONELL. PAGE 251

Miss Macdonell has not, so far as I know, published a volume. “Culloden Moor” appeared in the _Celtic Monthly_ in June 1893.

ALICE C. MACDONELL. PAGE 252

Miss Alice Macdonell of Keppoch has contributed many poems to Scottish and other periodicals. “The Weaving of the Tartan” appeared in the _Celtic Monthly_ for December 1894.

WILLIAM MACGILLIVRAY. (1796-1852.) PAGE 254

The author of “The Thrush’s Song” was not a poet, but occasionally indulged in the pleasure of verse-making. He was a well-known Highland ornithologist, and it may be added that his attempt at an onomatopoeic rendering of the song of the thrush has been pronounced by Buckland and other ornithologists to be remarkably close.

FIONA MACLEOD. PAGE 255

Miss Macleod is one of the younger writers most intimately associated with the Celtic Renascence in Scotland. “The Prayer of Women” (see page 255) is from _Pharais: a Romance of the Isles_ (Frank Murray, Derby, 1894); “The Rune of Age” and “A Gaelic Milking Song” are from _The Mountain Lovers_ (John Lane); the “Lullaby” and the two songs of Ethlenn Stuart are from her last volume, _The Sin-Eater: and other Tales_ (Patrick Geddes and Colleagues, Edinburgh). “The Closing Doors” has not been published hitherto. The brief lyric, “The Sorrow of Delight,” was contributed to an as yet unpublished fantastic sketch, _The Merchant of Dreams_, written in collaboration with a friend. Such of the poems scattered through her several volumes, and others, as she wishes to preserve in connected form, will be published by Miss Macleod early in 1896 (Patrick Geddes and Colleagues), under the title of _Lyric Runes and Fonnsheen_.

NORMAN MACLEOD. PAGE 266

There is no Highlander held in more affectionate remembrance and admiration than the late Dr Norman Macleod: and with justice; for no one worked more arduously, understandingly, and sympathetically for the cause of the Gaelic language, Gaelic literature, and the Gaelic people than the famous poet-minister, who, to this day, is commonly spoken of as “The Great Norman.” It was, however, Dr Norman the elder who wrote “Fiunary,”--and not, as commonly stated, the late Dr Norman. His “Farewell to Fiunary” is probably the most universally-known modern poem in the West Highlands. (For critical remarks as to the authenticity of this poem, see Dr Nigel M‘Neil’s _Literature of the Highlanders_, pp. 283-286.)

SARAH ROBERTSON MATHESON. PAGE 267

Mrs Robertson Matheson, some of whose poems in periodicals have attracted the attention of lovers of poetry, is chief secretary and treasurer of the Clan Donnachaidh Society. The fine lyric, “A Kiss of the King’s Hand,” appeared in the _Celtic Monthly_ for May 1894; but I regret that version has inadvertently been followed, for it twice misspells _tae_ for “to,” and in the third line of the third quatrain has a misreading (“jewels” instead of “ruffles”).

It may interest many readers to know that “A Kiss of the King’s Hand” decided the descendant of Flora Macdonald to leave Mrs Robertson Matheson the last heirloom of Scottish romance, the “ring of French gold” given by Prince Charlie to Flora, and holding the lock of hair cut from “the king’s head” by her and her mother.

DUGALD MOORE. PAGE 268

“The First Ship” is so remarkable a poem that it is difficult to understand how it has met with so little recognition, and escaped most, if not all, of the Scottish and British anthologists. Dugald Moore was the son of Highland parents, and was born in Glasgow in 1805. His first book was entitled _The Bard of the North_, and consisted of a series of poetical tales illustrative of Highland scenery and character (1833). _The Hour of Retribution_ and _The Devoted One_ appeared respectively in 1835 and 1839. Moore died unmarried in the 36th year of his age (Jan. 2, 1841), and was buried in the Necropolis of Glasgow. It is a pity that the poem could not have appeared without its fourth stanza, which is inferior to the others.

LADY CAROLINE NAIRNE. (1766-1845.) PAGE 269

Needless to say anything here concerning the “Flower of Strathearn.” Baroness Nairne was mainly Celtic in blood and wholly Celtic in genius. “The Land o’ the Leal” is now one of the most famous and most loved lyrics in the English language. (Readers may be referred to _Life and Songs of Baroness Nairne_, 1868.)

ALEXANDER NICOLSON. PAGE 270

Besides this fine poem, “On Skye,” Sheriff Nicolson has translated the “Birlinn” of Alexander Macdonald, and has written many moving verses full of Gaelic sentiment of a robust kind.

SIR NOËL PATON. PAGE 272

Joseph Noël Paton was born at Dunfermline on the 13th of December 1821; and while his father was also of partial Celtic origin, Sir Noël is, through his mother, the descendant of the last of the Scoto-Celtic kings. Of his career as a painter it is not necessary to speak here. His two volumes of poetry are _Poems by a Painter_ (1861) and _Spindrift_ (1867). The best account of the life and work of this distinguished Scot is the monograph recently published by Mr David Croal Thomson, as the “Art-Annual” of _The Art Journal_. The two poems by which Sir Noël is represented in this book are not to be found in either of his volumes, and their appearance here is due to the courtesy of the author.

WILLIAM RENTON. PAGE 274

Mr Renton was born in Perthshire, of Scoto-Celtic parents. “Mountain Twilight” is taken from his first volume of poems called _Oils and Water Colours_ (Hamilton, Edinburgh, 1876). Mr Renton’s only other volume of verse is his _Songs_ (Fisher Unwin, 1893).

LADY JOHN SCOTT. PAGE 275

The author of “Durisdeer” was of mixed Highland and Lowland descent. Her poem has a permanent place in our literature because of its haunting passion and pain.

EARL OF SOUTHESK. PAGE 276

Lord Southesk (James Carnegie) was bom in 1827. He first made his name in literature by his strange and vigorous _Jonas Fisher_ (1875). This was followed by _Greenwood’s Farewell_ (1876), and _The Meda Maiden_ (1877); though most of the poems contained in these two volumes, with several others, are comprised in _The Burial of Isis_ (1884).

JOHN CAMPBELL SHAIRP. PAGE 277

This able Scottish writer was of Celtic origin through his mother. Readers unacquainted with the poems of the late Principal Shairp, and ex-Professor of Poetry at Oxford, will do best to turn to the posthumous volume, edited, with a memoir, by Francis Turner Palgrave, entitled _Glen Dessary_ (Macmillan, 1888).

UNA URQUHART. PAGE 279

I know nothing else of Gaelic or English verse by this young writer. “An Old Tale of Three,” as it appears here, is a rendering of the original by Miss Fiona Macleod.

LOST LOVE. PAGE 280

The author of this poem is unknown. The original is in the Gaelic of the Western Isles, and is one of the several fugitive songs rescued by Thomas Pattison. The version given here, however, is not identical with his, the first and last quatrains having been added by another hand.

CONTEMPORARY ANGLO-CELTIC POETS (WALES)

GEORGE MEREDITH. PAGE 283

Mr George Meredith, who recently has been addressed in a dedication as “The Prince of Celtdom,” is rather the sovereign of contemporary English literature. Although of Welsh descent and sympathies, and with a nature pre-eminently Celtic in its distinguishing characteristics, Mr Meredith was born in Hampshire on February 12th, 1828. Part of his early education was received in Germany, and after his return to England it was intended that he should pursue the legal profession: an intention set aside on account of an irresistible bias toward literature. His first published writings were in verse: and now this early little book, _Poems_, published in his twenty-third year (1851) is one of the rarest treasures for the bibliophile. It is dedicated to Thomas Love Peacock, whose intellectual influence upon the young writer is obvious. In 1850 the poet married the daughter of Peacock, but it was not till a year or two later that he definitely set himself to the profession of literature as also a means of livelihood. It is characteristic of him that his first prose book should be one of his most individual writings; for _The Shaving of Shagpat_ might have been written at almost any period of its author’s career. A fascinating and perplexing production it must indeed have seemed at that time, published as it was in a year which, with the exception of two radically distinct American works of pre-eminent note, Longfellow’s _Hiawatha_ and Walt Whitman’s _Leaves of Grass_, was a singularly barren one. The fantasy has always remained a favourite with staunch Meredithians. It was followed two years later by the somewhat akin _Farina_; and two years passed again before that first important work appeared which so profoundly affected the minds and imagination of Mr Meredith’s contemporaries--the now famous _Ordeal of Richard Feverel_, (1859). Since that date Mr Meredith has given us what many consider the greatest literary legacy of our time; and unquestionably he has had no compeer in brilliant delineation of life at white heat. It is unnecessary to specify the works of an author with which all lovers of literature must be familiar; but a word must be added as to the delight which the reading world has known this year in the publication of _The Amazing Marriage_, one of the most brilliant and vivid of all Mr Meredith’s romances, and, in its display of his characteristic quality at his best, ranking with _Harry Richmond_, _The Egoist_, and _Diana of the Crossways_. As a poet George Meredith is less widely known, or, rather, is less widely accepted. There are, nevertheless, many who regard his poetic achievement as perhaps the most essential part of what he has given us. In depth of thought, in clarity of vision, and in remarkable expressional subtlety,--often, if not invariably, set forth in a lyric utterance whose only fault is that of an occasional apparent incoherence due to rapidity of thought and eagerness of rhythmic emotion--he stands here, as in all else, alone. From that extraordinarily powerful study of contemporary life, expressed emotionally and rhythmically in singularly convincing verse, _Modern Love_, to his latest volume, _The Empty Purse_, there is a range of rhythmic and lyric beauty which may well be a challenge to posterity to redeem the relative neglect of the mass of Mr Meredith’s contemporaries. I am not of those who consider Mr Meredith’s least popular poems as mere cryptic utterances in verse; for everywhere I find the lyric spirit,--hampered, at times, it is true, by a wind-rush of images, and by a sudden drove of unshepherded words. But who could read “Love in the Valley,” “The Lark Ascending,” “The Woods of Westermain,” “The South-Wester,” “The Hymn to Colour,” to mention five only, without recognising that here indeed we have one of the great poets of our time. The poems by which, owing to the gracious courtesy of Mr Meredith--who has consented to forego for once his great objection to the appearance of any of his poems in miscellaneous collections--he is here represented, are from his later volumes. The “Dirge in Woods,” “Outer and Inner,” and the superb “Hymn to Colour,” are from _A Reading of Earth_ (1888), the volume which contains “Hard Weather,” “The South-Wester,” “The Thrush in February,” “The Appeasement of Demeter,” “Woodland Peace,” the noble ode “Meditation under Stars,” and that flawless and memorable sonnet, “Winter Heavens.” The “Night of Frost in May” is from the volume entitled _The Empty Purse_ (1892). Mr Meredith’s other volume of poetry, the favourite with most of his readers, is _Poems and Lyrics of the Joy of Earth_ (1883). This book includes “The Woods of Westermain,” “The Day of the Daughter of Hades,” “The Lark Ascending,” “Phœbus with Admetus,” “Melampus,” “Love in a Valley,” and the group of sonnets beginning with “Lucifer in Starlight,” and ending with “Time and Sentiment.” All Mr Meredith’s poetical writings are now published by Messrs Macmillan.

SEBASTIAN EVANS. PAGE 292

Born in 1830, the grandson of the Rev. Lewis Evans, a well-known Welsh astronomer, and the son of the Rev. Arthur Benoni Evans, a linguist, scholar, and author. He was not the only one of this parentage who came to some distinction, for his brother, John Evans, F.R.S., became President of the Society of Antiquaries, and his sister, Anne, had some repute as a poetess and musician. Sebastian Evans won a fair measure of fugitive fame by his _Brother Fabian’s Manuscript and Other Poems_ (Macmillan, 1865). In the early ’70’s Dr Evans published his second volume, _In the Studio: a Decade of Poems_ (Macmillan). The true note of his strangely subtle and illusive muse is not that of either irony or audacity as commonly supposed, but rather a living belief in the passage of the contemporary mind and aspiration from the sureties of the ancient faith to the assurance of a still finer faith to come. Among his short poems perhaps the most indicative is that entitled “The Banners”--

Lordly banners, waving to the stars, Flap upon the night-wind, heavy with the dew, Trustful youth is wending to the wars, Strong in ancient faith to battle with the new.

Lordly banners, trodden in the clay, Lie upon the mountain dank with other dew, Hapless Youth hath lost the bloody day, Ancient faith is feeble, stronger is the new.

Lordly banners, other than of yore, Flap upon the night-wind, heavy with the dew: Youth to battle girdeth him once more, New and Old are feeble,--mighty is the True!

EBENEZER JONES. (1820-1860.) PAGE 293

Of Welsh parentage and descent, Ebenezer Jones was born in Islington, London. Much has been written upon the famous Chartist poet, both in his relation to the socialistic movements in which he participated, and in literary criticism of his two at one time much discussed volumes, _Studies of Sensation and Event_ (1843), and _Studies of Resemblance and Consent_ (1849); but perhaps the best critical summary of his life-work is that of Mr Wm. J. Linton in Miles’ _Poets and Poetry of the Century_, Vol. V. The two poems by which Ebenezer Jones is represented here are respectively from his second and first volumes.

EMILY DAVIS (MRS PFEIFFER). (1841-1890.) PAGE 296

Mrs Pfeiffer, many of whose poems achieved a wide popularity, was the daughter of a Welsh gentleman settled in Oxfordshire, and an officer in the army. She was born in Wales. Of her several volumes of verse, the first was _Gerard’s Monument_, etc. (1873), and the best are _Sonnets and Other Songs_, _Under the Aspens_ (1884), and _Sonnets_ (1887).

ERNEST RHYS. PAGE 297

“The House of Hendra” is not given here intact: for the whole poem, see _A London Rose_, etc. (Elkin Mathews). Mr Rhys is the most noteworthy of the younger generation of Welsh poets and romancists, and may well be accepted as the leader of the Neo-Celtic movement in Wales. He has in a more marked degree than almost any of his compatriots of his own period the gift of style; and already his enthusiasm, knowledge, and fine and notable work in prose and verse have brought him to the front as the recognised representative of young Wales. Of Welsh parentage, Mr Rhys was born in London in 1860, spent much of his boyhood in South Wales, and his youth and early manhood in the north-country, where he intended to follow the profession of a mining engineer. However, he came to London in the early ’eighties and settled down to literary work. His first publication in book form was _The Great Cockney Tragedy_ (1891). His poems first became known to the outside reading world through his contributions to _The Book of the Rhymers’ Club_ (1893). In the following year he published his first and as yet sole volume of verse: _A London Rose: and Other Rhymes_, whence comes the fine “House of Hendra” by which he is represented here. Besides other writings, in prose, Mr Ernest Rhys was editor of the “Camelot Series” of popular reprints and translations in 65 volumes (1885-1890), and now is critical editor of _The Lyric Poets_ (Dent), one of the most delightful poets-series extant.

CONTEMPORARY ANGLO-CELTIC POETS (MANX)

THOMAS EDWARD BROWN. PAGE 307

Was born at Douglas, in the Isle of Man, in 1830. After a career of exceptional distinction at Oxford, he was appointed Vice-Principal of King William’s College in the Isle of Man (1855). Since 1863 he has been assistant-master of Clifton College. The book by which Mr Brown is best known is his admirable _Fo’c’sle Yarns_ (Macmillan, 1881 and 1889), though the first of his tales in verse included therein, “Betsy Lee,” appeared in _Macmillan’s Magazine_ in 1873 where it at once attracted wide attention. He has also published _The Doctor_ (1887) and _The Manx Witch_ (1889). The author of _Fo’c’sle Yarns_ is by far the most noteworthy poetic representative of the Isle of Man. In range, depth of insight, dramatic vigour, keen sympathy, and narrative faculty, all transformed by the alchemy of his poetic vision, he is not only the foremost Manx poet, but one of the most notable of living writers in verse. It is probably because most of his poems deal almost wholly with Manx scenes and characters, and are for the most part written in the Manx dialect, that he is so little talked of by literary critics and so little known to the reading world at large. Than “Betsy Lee” (_Fo’c’sle Yarns_) there is no more moving, human, and beautiful poem, of the narrative kind, written in our time. The fragmentary lines by which the author is represented here were selected from one of his most characteristic Manx poems, and give a good idea of the common parlance of the islanders of to-day. It is from _The Doctor: and Other Poems_ (Swan Sonnenschein, 1887).

HALL CAINE. PAGE 309