The Poets' Corner VI

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_ (Pall Mall Gazette, April 6, 1888.)

David Westren, by Mr. Alfred Hayes, is a long narrative poem in Tennysonian blank verse, a sort of serious novel set to music. It is somewhat lacking in actuality, and the picturesque style in which it is written rather contributes to this effect, lending the story beauty but robbing it of truth. Still, it is not without power, and cultured verse is certainly a pleasanter medium for story-telling than coarse and common prose. The hero of the poem is a young clergyman of the muscular Christian school:

A lover of good cheer; a bubbling source
Of jest and tale; a monarch of the gun;
A dreader tyrant of the darting trout
Than that bright bird whose azure lightning threads
The brooklet's bowery windings; the red fox
Did well to seek the boulder-strewn hill-side,
When Westren cheered her dappled foes; the otter
Had cause to rue the dawn when Westren's form
Loomed through the streaming bracken, to waylay
Her late return from plunder, the rough pack
Barking a jealous welcome round their friend.

One day he meets on the river a lovely girl who is angling, and helps her to land

A gallant fish, all flashing in the sun
In silver mail inlaid with scarlet gems,
His back thick-sprinkled as a leopard's hide
With rich brown spots, and belly of bright gold.

They naturally fall in love with each other and marry, and for many years David Westren leads a perfectly happy life. Suddenly calamity comes upon him, his wife and children die and he finds himself alone and desolate. Then begins his struggle. Like Job, he cries out against the injustice of things, and his own personal sorrow makes him realise the sorrow and misery of the world. But the answer that satisfied Job does not satisfy him. He finds no comfort in contemplating Leviathan:

As if we lacked reminding of brute force,
As if we never felt the clumsy hoof,
As if the bulk of twenty million whales
Were worth one pleading soul, or all the laws
That rule the lifeless suns could soothe the sense
Of outrage in a loving human heart!
Sublime? majestic? Ay, but when our trust
Totters, and faith is shattered to the base,
Grand words will not uprear it.

Mr. Hayes states the problem of life extremely well, but his solution is sadly inadequate both from a psychological and from a dramatic point of view. David Westren ultimately becomes a mild Unitarian, a sort of pastoral Stopford Brooke with leanings towards Positivism, and we leave him preaching platitudes to a village congregation. However, in spite of this commonplace conclusion there is a great deal in Mr. Hayes's poem that is strong and fine, and he undoubtedly possesses a fair ear for music and a remarkable faculty of poetical expression. Some of his descriptive touches of nature, such as

In meeting woods, whereon a film of mist
Slept like the bloom upon the purple grape,

are very graceful and suggestive, and he will probably make his mark in literature.

There is much that is fascinating in Mr. Rennell Rodd's last volume, The Unknown Madonna and Other Poems. Mr. Rodd looks at life with all the charming optimism of a young man, though he is quite conscious of the fact that a stray note of melancholy, here and there, has an artistic as well as a popular value; he has a keen sense of the pleasurableness of colour, and his verse is distinguished by a certain refinement and purity of outline; though not passionate he can play very prettily with the words of passion, and his emotions are quite healthy and quite harmless. In Excelsis, the most ambitious poem in the book, is somewhat too abstract and metaphysical, and such lines as

Lift thee o'er thy 'here' and 'now,'
Look beyond thine 'I' and 'thou,'

are excessively tedious. But when Mr. Rodd leaves the problem of the Unconditioned to take care of itself, and makes no attempt to solve the mysteries of the Ego and the non-Ego, he is very pleasant reading indeed. A Mazurka of Chopin is charming, in spite of the awkwardness of the fifth line, and so are the verses on Assisi, and those on San Servolo at Venice. These last have all the brilliancy of a clever pastel. The prettiest thing in the whole volume is this little lyric on Spring:

Such blue of sky, so palely fair,
Such glow of earth, such lucid air!
Such purple on the mountain lines,
Such deep new verdure in the pines!
The live light strikes the broken towers,
The crocus bulbs burst into flowers,
The sap strikes up the black vine stock,
And the lizard wakes in the splintered rock,
And the wheat's young green peeps through the sod,
And the heart is touched with a thought of God;
The very silence seems to sing,
It must be Spring, it must be Spring!

We do not care for 'palely fair' in the first line, and the repetition of the word 'strikes' is not very felicitous, but the grace of movement and delicacy of touch are pleasing.

The Wind, by Mr. James Ross, is a rather gusty ode, written apparently without any definite scheme of metre, and not very impressive as it lacks both the strength of the blizzard and the sweetness of Zephyr. Here is the opening:

The roaming, tentless wind
No rest can ever find--
From east, and west, and south, and north
He is for ever driven forth!
From the chill east
Where fierce hyaenas seek their awful feast:
From the warm west,
By beams of glitt'ring summer blest.

Nothing could be much worse than this, and if the line 'Where fierce hyaenas seek their awful feast' is intended to frighten us, it entirely misses its effect. The ode is followed by some sonnets which are destined, we fear, to be ludibria ventis. Immortality, even in the nineteenth century, is not granted to those who rhyme 'awe' and 'war' together.

Mr. Isaac Sharp's Saul of Tarsus is an interesting, and, in some respects, a fine poem.

Saul of Tarsus, silently,
With a silent company,
To Damascus' gates drew nigh.

* * * * *

And his eyes, too, and his mien
Were, as are the eagles, keen;
All the man was aquiline--

are two strong, simple verses, and indeed the spirit of the whole poem is dignified and stately. The rest of the volume, however, is disappointing. Ordinary theology has long since converted its gold into lead, and words and phrases that once touched the heart of the world have become wearisome and meaningless through repetition. If Theology desires to move us, she must re-write her formulas.

There is something very pleasant in coming across a poet who can apostrophise Byron as

transcendent star
That gems the firmament of poesy,

and can speak of Longfellow as a 'mighty Titan.' Reckless panegyrics of this kind show a kindly nature and a good heart, and Mr. Mackenzie's Highland Daydreams could not possibly offend any one. It must be admitted that they are rather old-fashioned, but this is usually the case with natural spontaneous verse. It takes a great artist to be thoroughly modern. Nature is always a little behind the age.

The Story of the Cross, an attempt to versify the Gospel narratives, is a strange survival of the Tate and Brady school of poetry. Mr. Nash, who styles himself 'a humble soldier in the army of Faith,' expresses a hope that his book may 'invigorate devotional feeling, especially among the young, to whom verse is perhaps more attractive than to their elders,' but we should be sorry to think that people of any age could admire such a paraphrase as the following:

Foxes have holes, in which to slink for rest,
The birds of air find shelter in the nest;
But He, the Son of Man and Lord of all,
Has no abiding place His own to call.

It is a curious fact that the worst work is always done with the best intentions, and that people are never so trivial as when they take themselves very seriously.

(1) David Westren. By Alfred Hayes, M.A. New Coll., Oxon. (Birmingham: Cornish Brothers.)

(2) The Unknown Madonna and Other Poems. By Rennell Rodd. (David Stott.)

(3) The Wind and Six Sonnets. By James Ross. (Bristol: J. W. Arrowsmith.)

(4) Saul of Tarsus. By Isaac Sharp. (Kegan Paul.)

(5) Highland Daydreams. By George Mackenzie. (Inverness: Office of the Northern Chronicle.)

(6) The Story of the Cross. By Charles Nash. (Elliot Stock.) _

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