Books and Habits, from the Lectures of Lafcadio Hearn. Lafcadio HearnЧитать онлайн книгу.
is. There is still one line which requires a separate explanation—I mean the sentence about the sands of time running golden. Perhaps you may remember the same simile in Tennyson’s “Locksley Hall”:
Love took up the glass of Time, and turn'd it in His glowing hands;
Every moment, lightly shaken, ran itself in golden sands.
Here time is identified with the sand of the hour glass, and the verb “to run” is used because this verb commonly expresses the trickling of the sand from the upper part of the glass into the lower. In other words, fine sand “runs” just like water. To say that the sands of time run golden, or become changed into gold, is only a poetical way of stating that the time becomes more than happy—almost heavenly or divine. And now you will see how very beautiful the comparison becomes in this little poem about the ghost of the woman waiting for the coming step of her lover.
Several other aspects of the emotion may now be considered separately. One of these, an especially beautiful one, is memory. Of course, there are many aspects of love’s memories, some all happiness, others intensely sorrowful—the memory of a walk, a meeting, a moment of good-bye. Such memories occupy a very large place in the treasure house of English love poems. I am going to give three examples only, but each of a different kind. The first poet that I am going to mention is Coventry Patmore. He wrote two curious books of poetry, respectively called “The Angel in the House” and “The Unknown Eros.” In the first of these books he wrote the whole history of his courtship and marriage—a very dangerous thing for a poet to do, but he did it successfully. The second volume is miscellaneous, and contains some very beautiful things. I am going to quote only a few lines from the piece called “Amelia.” This piece is the story of an evening spent with a sweetheart, and the lines which I am quoting refer to the moment of taking the girl home. They are now rather famous:
… To the dim street
I led her sacred feet;
And so the Daughter gave,
Soft, moth-like, sweet,
Showy as damask-rose and shy as musk,
Back to her Mother, anxious in the dusk.
And now “Good Night!”
Why should the poet speak of the girl in this way? Why does he call her feet sacred? She has just promised to marry him; and now she seems to him quite divine. But he discovers very plain words with which to communicate his finer feelings to the reader. The street is “dim” because it is night; and in the night the beautifully dressed maiden seems like a splendid moth—the name given to night butterflies in England. In England the moths are much more beautiful than the true butterflies; they have wings of scarlet and purple and brown and gold. So the comparison, though peculiarly English, is very fine. Also there is a suggestion of the soundlessness of the moth’s flight. Now “showy as damask rose” is a striking simile only because the damask-rose is a wonderfully splendid flower—richest in colour of all roses in English gardens. “Shy as musk” is rather a daring simile. “Musk” is a perfume used by English as well as Japanese ladies, but there is no perfume which must be used with more discretion, carefulness. If you use ever so little too much, the effect is not pleasant. But if you use exactly the proper quantity, and no more, there is no perfume which is more lovely. “Shy as musk” thus refers to that kind of girlish modesty which never commits a fault even by the measure of a grain—beautiful shyness incapable of being anything but beautiful. Nevertheless the comparison must be confessed one which should be felt rather than explained.
The second of the three promised quotations shall be from Robert Browning. There is one feeling, not often touched upon by poets, yet peculiar to lovers, that is here treated—the desire when you are very happy or when you are looking at anything attractive to share the pleasure of the moment with the beloved. But it seldom happens that the wish and the conditions really meet. Referring to this longing Browning made a short lyric that is now a classic; it is among the most dainty things of the century.
Never the time and the place
And the loved one all together!
This path—how soft to pace!
This May—what magic weather!
Where is the loved one’s face?
In a dream that loved one’s face meets mine,
But the house is narrow, the place is bleak
Where, outside, rain and wind combine
With a furtive ear, if I try to speak,
With a hostile eye at my flushing cheek,
With a malice that marks each word, each sign!
Never can we have things the way we wish in this world—a beautiful day, a beautiful place, and the presence of the beloved all at the same time. Something is always missing; if the place be beautiful, the weather perhaps is bad. Or if the weather and the place both happen to be perfect, the woman is absent. So the poet finding himself in some very beautiful place, and remembering this, remembers also the last time that he met the woman beloved. It was a small dark house and chilly; outside there was rain and storm; and the sounds of the wind and of the rain were as the sounds of people secretly listening, or sounds of people trying to look in secretly through the windows. Evidently it was necessary that the meeting should be secret, and it was not altogether as happy as could have been wished.
The third example is a very beautiful poem; we must content ourselves with an extract from it. It is the memory of a betrothal day, and the poet is Frederick Tennyson. I suppose you know that there were three Tennysons, and although Alfred happened to be the greatest, all of them were good poets.
It is a golden morning of the spring,
My cheek is pale, and hers is warm with bloom,
And we are left in that old carven room,
And she begins to sing;
The open casement quivers in the breeze,
And one large musk-rose leans its dewy grace
Into the chamber, like a happy face,
And round it swim the bees;
I know not what I said—what she replied
Lives, like eternal sunshine, in my heart;
And then I murmured, Oh! we never part,
My love, my life, my bride!
And silence o’er us, after that great bliss,
Fell like a welcome shadow—and I heard
The far woods sighing, and a summer bird
Singing amid the trees;
The sweet bird’s happy song, that streamed around,
The murmur of the woods, the azure skies,
Were graven on my heart, though ears and eyes
Marked neither sight nor sound.
She sleeps in peace beneath the chancel stone,
But ah! so clearly is the vision seen,
The dead seem raised, or Death has never been,
Were I not here alone.
This is great art in its power of picturing a memory of the heart. Let us notice some of the beauties. The lover is pale because he is afraid, anxious; he is going to ask a question and he does not know how she may answer him. All this was long ago, years and years ago, but the strong emotions of that morning leave their every detail painted in remembrance, with strange vividness After all those years the man still recollects the appearance of the room, the sunshine entering and the crimson rose looking into the room from the garden, with bees humming round it. Then after the question had been