Chapter 2

Dowson was the only poet I ever knew who cared more for his prose than his verse; but he was wrong, and it is not by his prose that he will live, exquisite as that prose was at its best. He wrote two novels in collaboration with Mr. Arthur Moore: "A Comedy of Masks," in 1893, and "Adrian Rome," in 1899, both done under the influence of Mr. Henry James, both interesting because they were personal studies, and studies of known surroundings, rather than for their actual value as novels. A volume of "Stories and Studies in Sentiment," called "Dilemmas," in which the influence of Mr. Wedmore was felt in addition to the influence of Mr. James, appeared in 1895. Several other short stories, among his best work in prose, have not yet been reprinted from the _Savoy_. Some translations from the French, done as hack-work, need not be mentioned here, though they were never without some traces of his peculiar quality of charm in language. The short stories were indeed rather "studies in sentiment" than stories; studies of singular delicacy, but with only a faint hold on life, so that perhaps the best of them was not unnaturally a study in the approaches of death: "The Dying of Francis Donne." For the most part they dealt with the same motives as the poems, hopeless and reverent love, the ethics of renunciation, the disappointment of those who are too weak or too unlucky to take what they desire. They have a sad and quiet beauty of their own, the beauty of second thoughts and subdued emotions, of choice and scholarly English, moving in the more fluid and reticent harmonies of prose almost as daintily as if it were moving to the measure of verse. Dowson's care over English prose was like that of a Frenchman writing his own language with the respect which Frenchmen pay to French. Even English things had to come to him through France, if he was to prize them very highly; and there is a passage in "Dilemmas" which I have always thought very characteristic of his own tastes, as it refers to an "infinitesimal library, a few French novels, an Horace, and some well-thumbed volumes of the modern English poets in the familiar edition of Tauchnitz." He was Latin by all his affinities, and that very quality of slightness, of parsimony almost in his dealings with life and the substance of art, connects him with the artists of Latin races, who have always been so fastidious in their rejection of mere nature, when it comes too nakedly or too clamorously into sight and hearing, and so gratefully content with a few choice things faultlessly done.

And Dowson, in his verse (the "Verses" of 1896, "The Pierrot of the Minute," a dramatic phantasy in one act, of 1897, the posthumous volume "Decorations"), was the same scrupulous artist as in his prose, and more felicitously at home there. He was quite Latin in his feeling for youth, and death, and "the old age of roses," and the pathos of our little hour in which to live and love; Latin in his elegance, reticence, and simple grace in the treatment of these motives; Latin, finally, in his sense of their sufficiency for the whole of one's mental attitude. He used the commonplaces of poetry frankly, making them his own by his belief in them: the Horatian Cynara or Neobule was still the natural symbol for him when he wished to be most personal. I remember his saying to me that his ideal of a line of verse was the line of Poe:

"The viol, the violet, and the vine";

and the gracious, not remote or unreal beauty, which clings about such words and such images as these, was always to him the true poetical beauty. There never was a poet to whom verse came more naturally, for the song's sake; his theories were all æsthetic, almost technical ones, such as a theory, indicated by his preference for the line of Poe, that the letter "v" was the most beautiful of the letters, and could never be brought into verse too often. For any more abstract theories he had neither tolerance nor need. Poetry as a philosophy did not exist for him; it existed solely as the loveliest of the arts. He loved the elegance of Horace, all that was most complex in the simplicity of Poe, most birdlike in the human melodies of Verlaine. He had the pure lyric gift, unweighted or unballasted by any other quality of mind or emotion; and a song, for him, was music first, and then whatever you please afterwards, so long as it suggested, never told, some delicate sentiment, a sigh or a caress; finding words, at times, as perfect as the words of a poem headed, "O Mors! quam amara est memoria tua homini pacem habenti in substantiis suis."

There, surely, the music of silence speaks, if it has ever spoken. The words seem to tremble back into the silence which their whisper has interrupted, but not before they have created for us a mood, such a mood as the Venetian Pastoral of Giorgione renders in painting. Languid, half inarticulate, coming from the heart of a drowsy sorrow very conscious of itself, and not less sorrowful because it sees its own face looking mournfully back out of the water, the song seems to have been made by some fastidious amateur of grief, and it has all the sighs and tremors of the mood, wrought into a faultless strain of music. Stepping out of a paradise in which pain becomes so lovely, he can see the beauty which is the other side of madness, and, in a sonnet, "To One in Bedlam," can create a more positive, a more poignant mood, with fine subtlety.

Here, in the moment's intensity of this comradeship with madness, observe how beautiful the whole thing becomes; how instinctively the imagination of the poet turns what is sordid into a radiance, all stars and flowers and the divine part of forgetfulness! It is a symbol of the two sides of his own life: the side open to the street, and the side turned away from it, where he could "hush and bless himself with silence." No one ever worshipped beauty more devoutly, and just as we see him here transfiguring a dreadful thing with beauty, so we shall see, everywhere in his work, that he never admitted an emotion which he could not so transfigure. He knew his limits only too well; he knew that the deeper and graver things of life were for the most part outside the circle of his magic; he passed them by, leaving much of himself unexpressed, because he would not permit himself to express nothing imperfectly, or according to anything but his own conception of the dignity of poetry. In the lyric in which he has epitomised himself and his whole life, a lyric which is certainly one of the greatest lyrical poems of our time, "Non sum qualis eram bonae sub regno Cynarae," he has for once said everything, and he has said it to an intoxicating and perhaps immortal music.

Here, perpetuated by some unique energy of a temperament rarely so much the master of itself, is the song of passion and the passions, at their eternal war in the soul which they quicken or deaden, and in the body which they break down between them. In the second book, the book of "Decorations," there are a few pieces which repeat, only more faintly, this very personal note. Dowson could never have developed; he had already said, in his first book of verse, all that he had to say. Had he lived, had he gone on writing, he could only have echoed himself; and probably it would have been the less essential part of himself; his obligation to Swinburne, always evident, increasing as his own inspiration failed him. He was always without ambition, writing to please his own fastidious taste, with a kind of proud humility in his attitude towards the public, not expecting or requiring recognition. He died obscure, having ceased to care even for the delightful labour of writing. He died young, worn out by what was never really life to him, leaving a little verse which has the pathos of things too young and too frail ever to grow old.

ARTHUR SYMONS. 1900.

THE POEMS OF ERNEST DOWSON

TO MISSIE (A. P.)

IN PREFACE: FOR ADELAIDE

To you, who are my verses, as on some very future day, if you ever care to read them, you will understand, would it not be somewhat trivial to dedicate any one verse, as I may do, in all humility, to my friends? Trivial, too, perhaps, only to name you even here? Trivial, presumptuous? For I need not write your name for you at least to know that this and all my work is made for you in the first place, and I need not to be reminded by my critics that I have no silver tongue such as were fit to praise you. So for once you shall go indedicate, if not quite anonymous; and I will only commend my little book to you in sentences far beyond my poor compass which will help you perhaps to be kind to it:

"_Votre personne, vos moindres mouvements me semblaient avoir dans le monde une importance extrahumaine. Mon cœur comme de la poussière se soulevait derrière vos pas. Vous me faisiez l'effet d'un clair-de-lune par une nuit d'été, quand tout est parfums, ombres douces, blancheurs, infini; et les délices de la chair et de l'âme étaient contenues pour moi dans votre nom que je me répétais en tachant de le baiser sur mes lèvres.

"Quelquefois vos paroles me reviennent comme un écho lointain, comme le son d'une cloche apporté par le vent; et il me semble que vous êtes là quand je lis des passages de l'amour dans les livres.... Tout ce qu'on y blâme d'exagéré, vous me l'avez fait ressentir._"

PONT-AVEN, FINISTÈRE, 1896.

VERSES

_Vitae summa brevis spem nos vetat incohare longam_

They are not long, the weeping and the laughter. Love and desire and hate: I think they have no portion in us after We pass the gate.

They are not long, the days of wine and roses: Out of a misty dream Our path emerges for a while, then closes Within a dream.

A CORONAL

WITH HIS SONGS AND HER DAYS TO HIS LADY AND TO LOVE

Violets and leaves of vine, Into a frail, fair wreath We gather and entwine: A wreath for Love to wear, Fragrant as his own breath, To crown his brow divine, All day till night is near. Violets and leaves of vine We gather and entwine.

Violets and leaves of vine For Love that lives a day, We gather and entwine. All day till Love is dead, Till eve falls, cold and gray, These blossoms, yours and mine, Love wears upon his head, Violets and leaves of vine We gather and entwine.

Violets and leaves of vine, For Love when poor Love dies We gather and entwine. This wreath that lives a day Over his pale, cold eyes, Kissed shut by Proserpine, At set of sun we lay: Violets and leaves of vine We gather and entwine.

NUNS OF THE PERPETUAL ADORATION

Calm, sad, secure; behind high convent walls, These watch the sacred lamp, these watch and pray: And it is one with them when evening falls, And one with them the cold return of day.

These heed not time; their nights and days they make Into a long, returning rosary, Whereon their lives are threaded for Christ's sake; Meekness and vigilance and chastity.

A vowed patrol, in silent companies, Life-long they keep before the living Christ. In the dim church, their prayers and penances Are fragrant incense to the Sacrificed.

Outside, the world is wild and passionate; Man's weary laughter and his sick despair Entreat at their impenetrable gate: They heed no voices in their dream of prayer.

They saw the glory of the world displayed; They saw the bitter of it, and the sweet; They knew the roses of the world should fade, And be trod under by the hurrying feet.

Therefore they rather put away desire, And crossed their hands and came to sanctuary And veiled their heads and put on coarse attire: Because their comeliness was vanity.

And there they rest; they have serene insight Of the illuminating dawn to be: Mary's sweet Star dispels for them the night, The proper darkness of humanity.

Calm, sad, secure; with faces worn and mild: Surely their choice of vigil is the best? Yea! for our roses fade, the world is wild; But there, beside the altar, there, is rest.

VILLANELLE OF SUNSET

Come hither, Child! and rest: This is the end of day, Behold the weary West!

Sleep rounds with equal zest Man's toil and children's play: Come hither, Child! and rest.

My white bird, seek thy nest, Thy drooping head down lay: Behold the weary West!

Now are the flowers confest Of slumber: sleep, as they! Come hither, Child! and rest.

Now eve is manifest, And homeward lies our way: Behold the weary West!

Tired flower! upon my breast, I would wear thee alway: Come hither, Child! and rest; Behold, the weary West!

MY LADY APRIL

Dew on her robe and on her tangled hair; Twin dewdrops for her eyes; behold her pass, With dainty step brushing the young, green grass, The while she trills some high, fantastic air, Full of all feathered sweetness: she is fair, And all her flower-like beauty, as a glass, Mirrors out hope and love: and still, alas! Traces of tears her languid lashes wear.

Say, doth she weep for very wantonness? Or is it that she dimly doth foresee Across her youth the joys grow less and less The burden of the days that are to be: Autumn and withered leaves and vanity, And winter bringing end in barrenness.

TO ONE IN BEDLAM

With delicate, mad hands, behind his sordid bars, Surely he hath his posies, which they tear and twine; Those scentless wisps of straw, that miserably line His strait, caged universe, whereat the dull world stares,

Pedant and pitiful. O, how his rapt gaze wars With their stupidity! Know they what dreams divine Lift his long, laughing reveries like enchaunted wine, And make his melancholy germane to the stars'?

O lamentable brother! if those pity thee, Am I not fain of all thy lone eyes promise me; Half a fool's kingdom, far from men who sow and reap, All their days, vanity? Better than mortal flowers, Thy moon-kissed roses seem: better than love or sleep, The star-crowned solitude of thine oblivious hours!

AD DOMNULAM SUAM

Little lady of my heart! Just a little longer, Love me: we will pass and part, Ere this love grow stronger.

I have loved thee, Child! too well, To do aught but leave thee: Nay! my lips should never tell Any tale, to grieve thee.

Little lady of my heart! Just a little longer, I may love thee: we will part, Ere my love grow stronger.

Soon thou leavest fairy-land; Darker grow thy tresses: Soon no more of hand in hand; Soon no more caresses!

Little lady of my heart! Just a little longer, Be a child: then, we will part, Ere this love grow stronger.

AMOR UMBRATILIS

A gift of Silence, sweet! Who may not ever hear: To lay down at your unobservant feet, Is all the gift I bear.

I have no songs to sing, That you should heed or know: I have no lilies, in full hands, to fling Across the path you go.

I cast my flowers away, Blossoms unmeet for you! The garland I have gathered in my day: My rosemary and rue.

I watch you pass and pass, Serene and cold: I lay My lips upon your trodden, daisied grass, And turn my life away.

Yea, for I cast you, sweet! This one gift, you shall take: Like ointment, on your unobservant feet, My silence, for your sake.

AMOR PROFANUS

Beyond the pale of memory, In some mysterious dusky grove; A place of shadows utterly, Where never coos the turtle-dove, A world forgotten of the sun: I dreamed we met when day was done, And marvelled at our ancient love.

Met there by chance, long kept apart, We wandered through the darkling glades; And that old language of the heart We sought to speak: alas! poor shades! Over our pallid lips had run The waters of oblivion, Which crown all loves of men or maids.

In vain we stammered: from afar Our old desire shone cold and dead: That time was distant as a star, When eyes were bright and lips were red. And still we went with downcast eye And no delight in being nigh, Poor shadows most uncomforted.

Ah, Lalage! while life is ours, Hoard not thy beauty rose and white, But pluck the pretty, fleeting flowers That deck our little path of light: For all too soon we twain shall tread The bitter pastures of the dead: Estranged, sad spectres of the night.

VILLANELLE OF MARGUERITE'S

"A little, _passionately, not at all?_" She casts the snowy petals on the air: And what care we how many petals fall!

Nay, wherefore seek the seasons to forestall? It is but playing, and she will not care, A little, passionately, not at all!

She would not answer us if we should call Across the years: her visions are too fair; And what care we how many petals fall!

She knows us not, nor recks if she enthrall With voice and eyes and fashion of her hair, A little, passionately, not at all!

Knee-deep she goes in meadow grasses tall, Kissed by the daisies that her fingers tear: And what care we how many petals fall!

We pass and go: but she shall not recall What men we were, nor all she made us bear: "_A little, passionately, not at all!_" And what care we how many petals fall!

YVONNE OF BRITTANY

In your mother's apple-orchard, Just a year ago, last spring: Do you remember, Yvonne! The dear trees lavishing Rain of their starry blossoms To make you a coronet? Do you ever remember, Yvonne? As I remember yet.

In your mother's apple-orchard, When the world was left behind: You were shy, so shy, Yvonne! But your eyes were calm and kind. We spoke of the apple harvest, When the cider press is set, And such-like trifles, Yvonne! That doubtless you forget.

In the still, soft Breton twilight, We were silent; words were few, Till your mother came out chiding, For the grass was bright with dew: But I know your heart was beating, Like a fluttered, frightened dove. Do you ever remember, Yvonne? That first faint flush of love?

In the fulness of midsummer, When the apple-bloom was shed, Oh, brave was your surrender, Though shy the words you said. I was glad, so glad, Yvonne! To have led you home at last; Do you ever remember, Yvonne! How swiftly the days passed?

YVONNE OF BRITTANY

In your mother's apple-orchard It is grown too dark to stray, There is none to chide you, Yvonne! You are over far away. There is dew on your grave grass, Yvonne! But your feet it shall not wet: No, you never remember, Yvonne! And I shall soon forget.

BENEDICTIO DOMINI

Without, the sullen noises of the street! The voice of London, inarticulate, Hoarse and blaspheming, surges in to meet The silent blessing of the Immaculate.

Dark is the church, and dim the worshippers, Hushed with bowed heads as though by some old spell. While through the incense-laden air there stirs The admonition of a silver bell.

Dark is the church, save where the altar stands, Dressed like a bride, illustrious with light, Where one old priest exalts with tremulous hands The one true solace of man's fallen plight.

Strange silence here: without, the sounding street Heralds the world's swift passage to the fire: O Benediction, perfect and complete! When shall men cease to suffer and desire?

GROWTH

I watched the glory of her childhood change, Half-sorrowful to find the child I knew, (Loved long ago in lily-time) Become a maid, mysterious and strange, With fair, pure eyes--dear eyes, but not the eyes I knew Of old, in the olden time!

Till on my doubting soul the ancient good Of her dear childhood in the new disguise Dawned, and I hastened to adore The glory of her waking maidenhood, And found the old tenderness within her deepening eyes, But kinder than before.

AD MANUS PUELLAE

I was always a lover of ladies' hands! Or ever mine heart came here to tryst, For the sake of your carved white hands' commands; The tapering fingers, the dainty wrist; The hands of a girl were what I kissed.

I remember an hand like a _fleur-de-lys_ When it slid from its silken sheath, her glove; With its odours passing ambergris: And that was the empty husk of a love. Oh, how shall I kiss your hands enough?

They are pale with the pallor of ivories; But they blush to the tips like a curled sea-shell: What treasure, in kingly treasuries, Of gold, and spice for the thurible, Is sweet as her hands to hoard and tell?

I know not the way from your finger-tips, Nor how I shall gain the higher lands, The citadel of your sacred lips: I am captive still of my pleasant bands, The hands of a girl, and most your hands.

FLOS LUNAE

I would not alter thy cold eyes, Nor trouble the calm fount of speech With aught of passion or surprise. The heart of thee I cannot reach: I would not alter thy cold eyes!

I would not alter thy cold eyes; Nor have thee smile, nor make thee weep: Though all my life droops down and dies, Desiring thee, desiring sleep, I would not alter thy cold eyes.

I would not alter thy cold eyes; I would not change thee if I might, To whom my prayers for incense rise, Daughter of dreams! my moon of night! I would not alter thy cold eyes.

I would not alter thy cold eyes, With trouble of the human heart: Within their glance my spirit lies, A frozen thing, alone, apart; I would not alter thy cold eyes.

NON SUM QUALIS ERAM BONAE SUB REGNO CYNARAE

Last night, ah, yesternight, betwixt her lips and mine There fell thy shadow, Cynara! thy breath was shed Upon my soul between the kisses and the wine; And I was desolate and sick of an old passion, Yea, I was desolate and bowed my head: I have been faithful to thee, Cynara! in my fashion.

All night upon mine heart I felt her warm heart beat, Night-long within mine arms in love and sleep she lay; Surely the kisses of her bought red mouth were sweet; But I was desolate and sick of an old passion, When I awoke and found the dawn was gray: I have been faithful to thee, Cynara! in my fashion.

I have forgot much, Cynara! gone with the wind, Flung roses, roses riotously with the throng, Dancing, to put thy pale, lost lilies out of mind; But I was desolate and sick of an old passion, Yea, all the time, because the dance was long: I have been faithful to thee, Cynara! in my fashion.

I cried for madder music and for stronger wine, But when the feast is finished and the lamps expire, Then falls thy shadow, Cynara! the night is thine; And I am desolate and sick of an old passion, Yea, hungry for the lips of my desire: I have been faithful to thee, Cynara! in my fashion.

VANITAS

Beyond the need of weeping, Beyond the reach of hands, May she be quietly sleeping, In what dim nebulous lands? Ah, she who understands!

The long, long winter weather, These many years and days, Since she, and Death, together, Left me the wearier ways: And now, these tardy bays!

The crown and victor's token: How are they worth to-day? The one word left unspoken, It were late now to say: But cast the palm away!

For once, ah once, to meet her, Drop laurel from tired hands: Her cypress were the sweeter, In her oblivious lands: Haply she understands!

Yet, crossed that weary river, In some ulterior land, Or anywhere, or ever, Will she stretch out a hand? And will she understand?

EXILE

By the sad waters of separation Where we have wandered by divers ways, I have but the shadow and imitation Of the old memorial days.

In music I have no consolation, No roses are pale enough for me; The sound of the waters of separation Surpasseth roses and melody.

By the sad waters of separation Dimly I hear from an hidden place The sigh of mine ancient adoration: Hardly can I remember your face.