Some Literary Notes V

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_ (Woman's World, May 1889.)

Miss Caroline Fitz Gerald's volume of poems, Venetia Victrix, is dedicated to Mr. Robert Browning, and in the poem that gives its title to the book it is not difficult to see traces of Mr. Browning's influence. Venetia Victrix is a powerful psychological study of a man's soul, a vivid presentation of a terrible, fiery-coloured moment in a marred and incomplete life. It is sometimes complex and intricate in expression, but then the subject itself is intricate and complex. Plastic simplicity of outline may render for us the visible aspect of life; it is different when we come to deal with those secrets which self-consciousness alone contains, and which self-consciousness itself can but half reveal. Action takes place in the sunlight, but the soul works in the dark.

There is something curiously interesting in the marked tendency of modern poetry to become obscure. Many critics, writing with their eyes fixed on the masterpieces of past literature, have ascribed this tendency to wilfulness and to affectation. Its origin is rather to be found in the complexity of the new problems, and in the fact that self-consciousness is not yet adequate to explain the contents of the Ego. In Mr. Browning's poems, as in life itself which has suggested, or rather necessitated, the new method, thought seems to proceed not on logical lines, but on lines of passion. The unity of the individual is being expressed through its inconsistencies and its contradictions. In a strange twilight man is seeking for himself, and when he has found his own image, he cannot understand it. Objective forms of art, such as sculpture and the drama, sufficed one for the perfect presentation of life; they can no longer so suffice.

The central motive of Miss Caroline Fitz Gerald's psychological poem is the study of a man who to do a noble action wrecks his own soul, sells it to evil, and to the spirit of evil. Many martyrs have for a great cause sacrificed their physical life; the sacrifice of the spiritual life has a more poignant and a more tragic note. The story is supposed to be told by a French doctor, sitting at his window in Paris one evening:

How far off Venice seems to-night! How dim
The still-remembered sunsets, with the rim
Of gold round the stone haloes, where they stand,
Those carven saints, and look towards the land,
Right Westward, perched on high, with palm in hand,
Completing the peaked church-front. Oh how clear
And dark against the evening splendour! Steer
Between the graveyard island and the quay,
Where North-winds dash the spray on Venice;--see
The rosy light behind dark dome and tower,
Or gaunt smoke-laden chimney;--mark the power
Of Nature's gentleness, in rise or fall
Of interlinked beauty, to recall
Earth's majesty in desecration's place,
Lending yon grimy pile that dream-like face
Of evening beauty;--note yon rugged cloud,
Red-rimmed and heavy, drooping like a shroud
Over Murano in the dying day.
I see it now as then--so far away!

The face of a boy in the street catches his eye. He seems to see in it some likeness to a dead friend. He begins to think, and at last remembers a hospital ward in Venice:

'Twas an April day,
The year Napoleon's troops took Venice--say
The twenty-fifth of April. All alone
Walking the ward, I heard a sick man moan,
In tones so piteous, as his heart would break:
'Lost, lost, and lost again--for Venice' sake!'
I turned. There lay a man no longer young,
Wasted with fever. I had marked, none hung
About his bed, as friends, with tenderness,
And, when the priest went by, he spared to bless,
Glancing perplexed--perhaps mere sullenness.
I stopped and questioned: 'What is lost, my friend?'
'My soul is lost, and now draws near the end.
My soul is surely lost. Send me no priest!
They sing and solemnise the marriage feast
Of man's salvation in the house of love,
And I in Hell, and God in Heaven above,
And Venice safe and fair on earth between--
No love of mine--mere service--for my Queen.'

He was a seaman, and the tale he tells the doctor before he dies is strange and not a little terrible. Wild rage against a foster-brother who had bitterly wronged him, and who was one of the ten rulers over Venice, drives him to make a mad oath that on the day when he does anything for his country's good he will give his soul to Satan. That night he sails for Dalmatia, and as he is keeping the watch, he sees a phantom boat with seven fiends sailing to Venice:

I heard the fiends' shrill cry: 'For Venice' good!
Rival thine ancient foe in gratitude,
Then come and make thy home with us in Hell!'
I knew it must be so. I knew the spell
Of Satan on my soul. I felt the power
Granted by God to serve Him one last hour,
Then fall for ever as the curse had wrought.
I climbed aloft. My brain had grown one thought,
One hope, one purpose. And I heard the hiss
Of raging disappointment, loth to miss
Its prey--I heard the lapping of the flame,
That through the blanched figures went and came,
Darting in frenzy to the devils' yell.
I set that cross on high, and cried: 'To Hell
My soul for ever, and my deed to God!
Once Venice guarded safe, let this vile clod
Drift where fate will.'
And then (the hideous laugh
Of fiends in full possession, keen to quaff
The wine of one new soul not weak with tears,
Pealing like ruinous thunder in mine ears)
I fell, and heard no more. The pale day broke
Through lazar-windows, when once more I woke,
Remembering I might no more dare to pray.

The idea of the story is extremely powerful, and Venetia Victrix is certainly the best poem in the volume--better than Ophelion, which is vague, and than A Friar's Story, which is pretty but ordinary. It shows that we have in Miss Fitz Gerald a new singer of considerable ability and vigour of mind, and it serves to remind us of the splendid dramatic possibilities extant in life, which are ready for poetry, and unsuitable for the stage. What is really dramatic is not necessarily that which is fitting for presentation in a theatre. The theatre is an accident of the dramatic form. It is not essential to it. We have been deluded by the name of action. To think is to act.

Of the shorter poems collected here, this Hymn to Persephone is, perhaps, the best:

Oh, fill my cup, Persephone,
With dim red wine of Spring,
And drop therein a faded leaf
Plucked from the Autumn's bearded sheaf,
Whence, dread one, I may quaff to thee,
While all the woodlands ring.

Oh, fill my heart, Persephone,
With thine immortal pain,
That lingers round the willow bowers
In memories of old happy hours,
When thou didst wander fair and free
O'er Enna's blooming plain.

Oh, fill my soul, Persephone,
With music all thine own!
Teach me some song thy childhood knew,
Lisped in the meadow's morning dew,
Or chant on this high windy lea,
Thy godhead's ceaseless moan.

But this Venetian Song also has a good deal of charm:

Leaning between carved stone and stone,
As glossy birds peer from a nest
Scooped in the crumbling trunk where rest
Their freckled eggs, I pause alone
And linger in the light awhile,
Waiting for joy to come to me--
Only the dawn beyond yon isle,
Only the sunlight on the sea.

I gaze--then turn and ply my loom,
Or broider blossoms close beside;
The morning world lies warm and wide,
But here is dim, cool silent gloom,
Gold crust and crimson velvet pile,
And not one face to smile on me--
Only the dawn beyond yon isle,
Only the sunlight on the sea.

Over the world the splendours break
Of morning light and noontide glow,
And when the broad red sun sinks low,
And in the wave long shadows shake,
Youths, maidens, glad with song and wile,
Glide and are gone, and leave with me
Only the dawn beyond yon isle,
Only the sunlight on the sea.

Darwinism and Politics, by Mr. David Ritchie, of Jesus College, Oxford, contains some very interesting speculations on the position and the future of women in the modern State. The one objection to the equality of the sexes that he considers deserves serious attention is that made by Sir James Stephen in his clever attack on John Stuart Mill. Sir James Stephen points out in Liberty, Equality, Fraternity, that women may suffer more than they have done, if plunged into a nominally equal but really unequal contest in the already overcrowded labour market. Mr. Ritchie answers that, while the conclusion usually drawn from this argument is a sentimental reaction in favour of the old family ideal, as, for instance, in Mr. Besant's books, there is another alternative, and that is the resettling of the labour question. 'The elevation of the status of women and the regulation of the conditions of labour are ultimately,' he says, 'inseparable questions. On the basis of individualism, I cannot see how it is possible to answer the objections of Sir James Stephen.' Mr. Herbert Spencer, in his Sociology, expresses his fear that women, if admitted now to political life, might do mischief by introducing the ethics of the family into the State. 'Under the ethics of the family the greatest benefits must be given where the merits are smallest; under the ethics of the State the benefits must be proportioned to the merits.' In answer to this, Mr. Ritchie asks whether in any society we have ever seen people so get benefits in proportion to their merits, and protests against Mr. Spencer's separation of the ethics of the family from those of the State. If something is right in a family, it is difficult to see why it is therefore, without any further reason, wrong in the State. If the participation of women in politics means that as a good family educates all its members, so must a good State, what better issue could there be? The family ideal of the State may be difficult of attainment, but as an ideal it is better than the policeman theory. It would mean the moralisation of politics. The cultivation of separate sorts of virtues and separate ideals of duty in men and women has led to the whole social fabric being weaker and unhealthier than it need be. As for the objection that in countries where it is considered necessary to have compulsory military service for all men, it would be unjust and inexpedient that women should have a voice in political matters, Mr. Ritchie meets it, or tries to meet it, by proposing that all women physically fitted for such purpose should be compelled to undergo training as nurses, and should be liable to be called upon to serve as nurses in time of war. This training, he remarks, 'would be more useful to them and to the community in time of peace than his military training is to the peasant or artisan.' Mr. Ritchie's little book is extremely suggestive, and full of valuable ideas for the philosophic student of sociology.

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Mr. Alan Cole's lecture on Irish lace, delivered recently before the Society of Arts, contains some extremely useful suggestions as to the best method of securing an immediate connection between the art schools of a country and the country's ordinary manufactures. In 1883, Mr. Cole was deputed by the Department of Science and Art to lecture at Cork and at Limerick on the subject of lace-making, and to give a history of its rise and development in other countries, as well as a review of the many kinds of ornamental patterns used from the sixteenth century to modern times. In order to make these lectures of practical value, Mr. Cole placed typical specimens of Irish laces beside Italian, Flemish, and French laces, which seem to be the prototypes of the lace of Ireland. The public interest was immediately aroused. Some of the newspapers stoutly maintained that the ornament and patterns of Irish lace were of such a national character that it was wrong to asperse them on that score. Others took a different view, and came to the conclusion that Irish lace could be vastly improved in all respects, if some systematic action could be taken to induce the lace-makers to work from more intelligently composed patterns than those in general use. There was a consensus of opinion that the workmanship of Irish laces was good, and that it could be applied to better materials than those ordinarily used, and that its methods were suited to render a greater variety of patterns than those usually attempted.

These and other circumstances seem to have prompted the promoters of the Cork Exhibition to further efforts in the cause of lace-making. Towards the close of the year 1883 they made fresh representations to Government, and inquired what forms of State assistance could be given. A number of convents in the neighbourhood of Cork was engaged in giving instruction to children under their care in lace and crochet making. At some, rooms were allotted for the use of grown-up workers who made laces under the supervision of the nuns. These convents obviously were centres where experiments in reform could be tried. The convents, however, lacked instruction in the designing of patterns for laces. An excellent School of Art was at work at Cork, but the students there had not been instructed in specially designing for lace. If the convents with their workrooms could be brought into relation with this School of Art, it seemed possible that something of a serious character might be done to benefit lace-makers, and also to open up a new field in ornamental design for the students at the School of Art. The rules of the Department of Science and Art were found to be adapted to aid in meeting such wants as those sketched out by the promoters at Cork. As the nuns in the different lace-making convents had not been able to attend in Cork to hear Mr. Cole's lectures, they asked that he should visit them and repeat them at the convents. This Mr. Cole did early in 1884, the masters of the local Schools of Art accompanying him on his visits. Negotiations were forthwith opened for connecting the convents with the art schools. By the end of 1885 some six or seven different lace-making convents had placed themselves in connection with Schools of Art at Cork and Waterford. These convents were attended not only by the nuns but by outside pupils also; and, at the request of the convents, Mr. Cole has visited them twice a year, lecturing and giving advice upon designs for lace. The composition of new patterns for lace was attempted, and old patterns which had degenerated were revised and redrawn for the use of the workers connected with the convents. There are now twelve convents, Mr. Cole tells us, where instruction in drawing and in the composition of patterns is given, and some of the students have won some of the higher prizes offered by the Department of Science and Art for designing lace- patterns.

The Cork School of Art then acquired a collection of finely-patterned old laces, selections from which are freely circulated through the different convents connected with that school. They have also the privilege of borrowing similar specimens of old lace from the South Kensington Museum. So successful has been the system of education pursued by Mr. Brennan, the head-master of the Cork School of Art, that two female students of his school last year gained the gold and silver medals for their designs for laces and crochets at the national competition which annually takes place in London between all the Schools of Art in the United Kingdom. As for the many lace-makers who were not connected either with the convents or with the art schools, in order to assist them, a committee of ladies and gentlemen interested in Irish lace-making raised subscriptions, and offered prizes to be competed for by designers generally. The best designs were then placed out with lace-makers, and carried into execution. It is, of course, often said that the proper person to make the design is the lace-maker. Mr. Cole, however, points out that from the sixteenth century forward the patterns for ornamental laces have always been designed by decorative artists having knowledge of the composition of ornament, and of the materials for which they were called upon to design. Lace pattern books were published in considerable quantity in Italy, France and Germany during the sixteenth and seventeenth centuries, and from these the lace-makers worked. Many lace- makers would, no doubt, derive benefit from practice in drawing, in discriminating between well and badly shaped forms. But the skill they are primarily required to show and to develop is one of fine fingers in reproducing beautiful forms in threads. The conception, arrangement, and drawing of beautiful forms for a design, have to be undertaken by decorative artists acquainted with the limitations of those materials and methods which the ultimate expression of the design involves.

This lovely Irish art of lace-making is very much indebted to Mr. Cole, who has really re-created it, given it new life, and shown it the true artistic lines on which to progress. Hardly 20,000 pounds a year is spent by England upon Irish laces, and almost all of this goes upon the cheaper and commoner kinds. And yet, as Mr. Cole points out, it is possible to produce Irish laces of as high artistic quality as almost any foreign laces. The Queen, Lady Londonderry, Lady Dorothy Nevill, Mrs. Alfred Morrison, and others, have done much to encourage the Irish workers, and it rests largely with the ladies of England whether this beautiful art lives or dies. The real good of a piece of lace, says Mr. Ruskin, is 'that it should show, first, that the designer of it had a pretty fancy; next, that the maker of it had fine fingers; lastly, that the wearer of it has worthiness or dignity enough to obtain what is difficult to obtain, and common-sense enough not to wear it on all occasions.'

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The High-Caste Hindu Woman is an interesting book. It is from the pen of the Pundita Ramabai Sarasvati, and the introduction is written by Miss Rachel Bodley, M.D., the Dean of the Woman's Medical College of Pennsylvania. The story of the parentage of this learned lady is very curious. A certain Hindu, being on a religious pilgrimage with his family, which consisted of his wife and two daughters, one nine and the other seven years of age, stopped in a town to rest for a day or two. One morning the Hindu was bathing in the sacred river Godavari, near the town, when he saw a fine-looking man coming there to bathe also. After the ablution and the morning prayers were over, the father inquired of the stranger who he was and whence he came. On learning his caste, and clan, and dwelling-place, and also that he was a widower, he offered him his little daughter of nine in marriage. All things were settled in an hour or so; next day the marriage was concluded, and the little girl placed in the possession of the stranger, who took her nearly nine hundred miles away from her home, and gave her into the charge of his mother. The stranger was the learned Ananta Shastri, a Brahman pundit, who had very advanced views on the subject of woman's education, and he determined that he would teach his girl-wife Sanskrit, and give her the intellectual culture that had been always denied to women in India. Their daughter was the Pundita Ramabai, who, after the death of her parents, travelled all over India advocating the cause of female education, and to whom seems to be due the first suggestion for the establishment of the profession of women doctors. In 1866, Miss Mary Carpenter made a short tour in India for the purpose of finding out some way by which women's condition in that country might be improved. She at once discovered that the chief means by which the desired end could be accomplished was by furnishing women teachers for the Hindu Zenanas. She suggested that the British Government should establish normal schools for training women teachers, and that scholarships should be awarded to girls in order to prolong their school-going period, and to assist indigent women who would otherwise be unable to pursue their studies.

In response to Miss Carpenter's appeal, upon her return to England, the English Government founded several schools for women in India, and a few 'Mary Carpenter Scholarships' were endowed by benevolent persons. These schools were open to women of every caste; but while they have undoubtedly been of use, they have not realised the hopes of their founders, chiefly through the impossibility of keeping caste rules in them. Ramabai, in a very eloquent chapter, proposes to solve the problem in a different way. Her suggestion is that houses should be opened for the young and high-caste child-widows, where they can take shelter without the fear of losing their caste, or of being disturbed in their religious belief, and where they may have entire freedom of action as regards caste rules. The whole account given by the Pundita of the life of the high-caste Hindu lady is full of suggestion for the social reformer and the student of progress, and her book, which is wonderfully well written, is likely to produce a radical change in the educational schemes that at present prevail in India.

(1) Venetia Victrix. By Caroline Fitz Gerald. (Macmillan and Co.)

(2) Darwinism and Politics. By David Ritchie, Jesus College, Oxford. (Swan Sonnenschein and Co.)

(3) The High-Caste Hindu Woman. By the Pandita Ramabai Sarasvati. (Bell and Sons.) _

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