PR6035 6iu^ LIBRARr UNIVERSITY OF CALIFORMA RIVERSIDE VOTARIAL VERSE & ARABESQUES. First published, 1921. This First Edition is limited to 750 copies, of which 700 are for sale. -2 a a g n iJ2i V OD P. o as -; xjO a o c ca Q c o c o c o - V y 3 c ? o o VOTARIAL VERSE & ARABESQUES. If £HILIP RpBSON. ICC' Palmer, How* & Co., Manch«il«r. 1921. DEDICATION. To G. D. R "NOTARIAL VERSE," I dedicate to thee, my wife. An evidence all delicate Of our deep love which sweeteneth And doth retain it's vernal breath Throughout my life. It's passion tense, it's listenings; It's every best, It's striving after deep-felt things And that love incarnadine. Lily-white and eburnine. If well exprest, Belong to you, O loveliest. VII CONTENTS. The Poems starred thus (*) at the end of the last line have an explanatory note on pages 73-79 Page Dedicatory VIX Eucharistic Hymn 1 St. Philip's Day 2 St. Michael 3 Twin Altar-Lights — (illustrated) 4 The Holy Wisdom 5 The Portrait 6 Winged Time — [see frontispiece) 7 The Madonna (illustrated) 8 To a Pupil (1) Arrogance 9 „ (2) Balance 10 (3) True Originality 11 The Filling of the Circle (illustrated) 12 Her Portrait 13 Children to the Mother 14 Lancing College 15 The Memorial — (illustrated) 16 Frozen Music 17 The Amulet 18 The Three-fold State ... 19 VIII COYiTENTS—Conthmed. Page The Perfect Violin-Bow 20 The Grasshopper 21 Gasparo Bertolotti (illustrated) 22 The Aspirant 23 " Two Skylarks " 24 Maurice Ravel ... 25 Jean Sibelius 26 Gustav Hoist's Songs 27 Stratagems 28 Chopin's Antidote 29 The Night Before 30 Fuji San ... 31 The Palace of Art 32 The Centre-forward 33 Incidents — 4th Test 34 MIXED VINTAGES Ashover Bells ... 3G Entranced 37 Faith, Hope & Charity 38 Lyric 39 Song for Music ... 40 The "Travellers' Tree" 42 The Lark 44 IX CO'^TENTS— Continued. Page Tout Passe ... ... ... ... ... ... 46 The Lover's Return 46 The Rose 47 The Aspens 48 The Bird of Paradise ... 50 A Little Thing 51 A Birthday Greeting ... 52 The Engagement Ring... 53 To an Engineering Maid 54 Seeing Him Off 55 The Jumper-knitter 56 Incidental 59 The Little One 62 Enchantment 64 The Pink Pipe (illustrated) 66 A Plea for Light and Air 67 The Cricket- Field 68 Postlude ... 70 Notes 73 Index of First Lines ... 81 EUCHARISTIC HYMN. PANIS YUJE. NOW come we to Thine Altar-stair And solace for our soul's desire, In all humility and prayer, Feed us. Holy Paraclete. VITIS VERA. May we be tendrils of the Vine, Entwin'd and bound by love for Thee, And ever-grateful, being Thine, For Thy Cross at Calvary, Feed us. Holy Paraclete.* ST. PHILIP'S DAY— May 1st. IN Goddes praise your paeans raise Ye youths ; with holiest vows Bestrew sweet flow'rs, all blossoming, And deck the threshold out with boughs. Winter suspires — see Spring bearing Her purpurean offering.* 2 ST. MICHAEL. TO Thee, all hail ! O winged Pursuivant, O Warrior, — Primate — Taxiarch ! Whose sign expresses peace triumphant To the heavenly puissant Hierarch. Perchance yon Mount once shrin'd the pagan Bel Before Christ's message reach'd this island shore, Before th' angelic host cnish'd that from hell, And shining squadrons 'whelmed for evermore The dragon and his fallen angel-host. Rejoice, therefore, with those at Michael's Mount, At Lowthian Inveresk, where evermost Our Saint's rever'd and royally is paramount. Let sacred Avilion's psan of praise Resound and swell most joyously alwaes.* TWIN ALTAR LIGHTS. SOME sixteenth century artificer Rejoiced to make these vigorous work -of -art — An Altar-Cross, perchance, a mystic censerT— A Chalice fair, calixiate, prepart Of that set sacramental once helped to give The highest service immemorially Accredited by use imperative And sanctioned primordially. We see the Vine entwined — acanthus Greek — Well reconciled with all urbanity, Symbolic of the blend of thought antique With spiritual Christianity. The Vine, triumphant, holds the higher place Whereas the "bear's foot" graces but the base.* One of u piiir; probably mailt- in Nurcmljen^ uhout 1650; Silver — weight 30 oz. ; two murks, H.D. unci V. orT.V. (Author's.) See Note pa^e 73. THE HOLY WISDOM. (532-538 A.D.) THE Architects were Anathemius Of Trales, a Lydian, and a Grecian, One Isodorus a Miletian. They raised this Temple on the Bosphorus Instimulated by Justinian. A Roman Emperor and a Christian. This heritage — most wonderful to us — • Is severed from her desponsation. A strange God's worshipped under her vast domes- Angelic forms lie hid. This violation Dies when, propitiously, the Gnomes Declare us worth its salvation. " O Solomon, behold, thy palm I wrest," Let us then restitute, our creed confest.* THE PORTRAIT. MOST gracious woman whose frank face rever'd, Enshrin'd and cherish'd as a memory, I hold too sacrosanct and close-endeared For all assailments. Let finest emery With scarce perceptibility wear down Resisting steel ; let Time's attrition Efface men's hard-wrot works-of-art and crown Their labour with consignments to perdition ; Yet th' imperishable impress of the soul — • Marmoreally calm — intensified By sternest sculpting to a final goal Is ever mine — wisdom beatified/ And when both breath and earth are whelmed o'er No alchemist transmutes this pensee d'or.* WINGED TIME. THOU wilt outlive me as thou didst outlive The architect belov'd to whom Rossetti With lofty vision sure didst give — But little recking all the debt he Created by — this wond'rous gold invention, With black inlays en manihe champleve, Portraying all the Heav'nly constellation. With Sol and Luna set in stars — brevet D'invention. Precious are life's fleeting hours, God's gift to use or waste ever striving To follow that empyrean bird which dow'rs The back. Elusive Time is on the wing I May we of its creator's euphrasy Draw tonic, then find added eucrasy.* * See frontispiece and note \i. 74. THE MADONNA. To Desiderio this gem of cinque Cento art's assigned. Rare bas-relief Poetical and sweet. Could none but he Endue with that immaculate belief This terra-cotta giving us the grace Of perfect Motherhood, all circumspect, Devotional, as knowing well the place Her Child's profundity of intellect Would, in God's chosen hour, place Him without Compeer amongst the sages of all time Predestined Guide for devotees devout To their true grail and guerdon all sublime ? O ! Vestal Virgin spare us some largess From thine inimitable tenderness. Mudonna and Child, in lerra-cotta, du;^, up at Florence; attributed to Desiderio da Settii*,nano; end of the 15th century. (Author's.) TO A PUPIL. I. ARROGANCE. REVISION this old sorry scheme of things You would, your blithe self crown with roses, Perchance quaff vinous draughts to give you wings To redesign the old dome Heav'n discloses O'er headstrong wanderers disconsolate Who fail— as Omar did, by losing faith. Receiving earthly dross commensurate With his pursuit of that elusive wraith — Him hurling from his high estate — And on the morrow moan and cry aloud To God, whose sanctuary they'd desecrate, Despairing the dispersal of His cloud ! Beware the quest of doubtful arabesques Lest it entice to ugly vorticesques.* TO A PUPIL. II. BALANCE. ENTRANCED Architect build well thy schemes, Delight us with thy broad conception Which flies the frail conceit and sure redeems From indigence at its inception. Thy planning musical, commodious, Should hold to axiality yet not Be equal quite — such art is odious — The use of counterparts, some aliquot To equipoise and measure out surprises, To make men think exact equality Is nature's way, when, steadfast, she despises Such bald insensate abject poverty. No ! Fitly make Proportion feel her part Of finest imagery, the highest Art.* 10 TO A PUPIL, m. TRUE ORIGINALITY. A FAIR divinity you bow before — Her name is Art — slaving to originate Some superiative magnificence to adore, Scarce dreaming that you can but imitate Things older than the hills. You can but strive To evolve from fresh assimilation Of past masterpieces and thence derive New stimulus for fine creation. From mediocrity's stupidity By steadfast loving toil you will be freed, But fly the poison of cupidity Then freedom's servitude will surely seed In Truth — unsoilable — inviolate — Immemorially commemorate.* II THE FILLING OF THE CIRCLE. CONSUMMATE craftsmen unconcerned that Art By many a seeker is hardly sought Afar and near ; that many an upstart Claims her palms but is ever vainly taught. Your burins modestly you drove at Prescot — Engraving, chasing all — with naive delight — Cut filigrees, fragile, in filemot — Nor heeded that they're hidden from our sight. No doubt those traceries enspherical Are — son from father— fiduciary. No hint discloses the empirical Nor even hesitant chance quandary. Yet artists great were they who first thought out Those patterns close-confined yet paramount. 12 ^^ <^^ "^a^ 18th Century Watch-Cocks; made, probjbly. at Prescot, Lanes. (Author's.) HER PORTRAIT. COULD Lionardo see you he'd despair Of capturing your enigmatic air, Of portraiting your equiformal charm And uniformest level-headedness — Indicative of life's contentedness — For deepest waters hold the stillest calm. No, only English Watts with his unique Soul-piercing gift, depicting but the best With which each personality is blest, Could bring success with art psychologique ; But esoteric power could not invest His canvas with that essential intrigue Of gladness, nor radiant sanctity All-effluent in close proximity. 13 CHILDREN TO THE MOTHER. NEEDS must love whom thou kissest mom and eve Giving diumal joy — nocturnal peace. Instinctive loving teacher who dost weave Joys irridescent ; as a morning breeze Discovers azure limitless horiz'ns, Your presence radiateth happiness ; And day enthrall 'd invincibly bediz'ns Herself for multi-coloured merriness. They love thee too, with fine and deep'ning love, Thy children — tho', maybe, at times aloof — But later Memory's self holds high above Her mirror rich with undisguised proof. The surest asset royal minds possess Is wisdom, bom of woman's tenderness. 14 LANCING COLLEGE. ENVELOPING the downs soft rolling crest Is Alma Mater. Her pearly flint-knapt Limbs, sandstone-encas'd, demurely drest, Harmoniously crown that green wind-capt Most Southern dome of Sussex' chiefest-pride. Deep filial love her scatter'd progeny — A guerdon for her guidage — all provide ; An index and a sure hegonomy Her vitalising spirit doth invite ; On lower slopes the truly carven fields — All unsuspect — the cricketers' delight — Earth's loveliness in verdant vesture yields And, dominating all, La Sainte Chapelle, In buttress'd beauty, aspires to Heav'n. Fare Well. 15 THE MEMORIAL. Their name liveth evermore for they ^ave their all. APART— aloof— the little Chantry calls Insistently, that those who fell to rise Shall live in glorious memorials To exemplify the Greatest Sacrifice. No simple parchment palimpsest of names ! No churchyard mason's mediocrity ! We have a pious care that none defames The resting ones with what is fulsome, pretty. Grief's sting dies in beauteous sanctities — Translucent — joyous — yet ethereal ; Then add strange dignity, for where God is Death enters not, but Peace celestial — And, blessing all, a Regnant Christ behold On high— "A Life to give— a Faith to hold."* i6 An old Stucco dufi) Italian Fi)\ure; Cross 19th century. See Note pa^e 74. FROZEN MUSIC. THE artist who would fain despise the concord Of sweet sounds is invertebrate. No sovran Cure, no anodyne avails to give accord, Nor bond of sympathy — poor soul-tied man ! The perfect noble Architect should recreate The stately grace of Music's harmonies — Those pregnant joys which faintly permeate The very brain and ever adumbrate — • As Euclid's asomptote successfully defies Each scholar's humble gaze, intense, distraught — 'Ere he can crystallise the underlying thought Which builds a masterpiece in ultimate. Then Music, freed from her obscurity In static form gains perpetuity.* i? THE AMULET. ORED cornelian scarabeus mine With sparkling facets, as beetles' eyes Catch glints of light, pray prove an anodyne To life's laborious toil and ne'er despise To vivify and lighten my dull mind Bent on elucidating mysteries Engrossing thorough thinkers who bind The older trains of thought by arteries Unseen to essential modernity And even trace an incarnation — This scarab — over six thousand B.C. — Were it Queen Moo's — great consummation I Her talismanic poseidonian charm Then keeps its owner surely from all harm.* i8 "THE THREE-FOLD STATE." UTOPIAN effort, pithed with vision We give our euge, O Rudolph Steiner, Nor do we this in cheap derision Seeing how whole-heartedly the finer Philologisms are skilfully decried. But why recess "life spiritual" — In perpetuity depressed — soul-tied — When men's demands are individual ? Why rank it indign third — in ultimate ? " Life economic " holds the proud position ? And " life politic " that penultimate ! We fear you as our high physician ! Achieve this potent practicality And see the grave of ideality. 19 THE PERFECT VIOLIN-BOW. O MAGIC wand of Pernambuco wood Resilient, yet ever surely strong ; Elastic — but as if you understood Too great a flexibility were wrong ; Of subtle curves all cunningly devis'd To hold the player's most impassioned mood And yet yield gently — but uncompromised — • As when a wooer forcefully intrudes His ardent vows on her reluctant ear Yet wins his goal by pressure delicate Dissolving lovingly the maiden's fears — For you no music is too intricate. Without your aid the great Guamerius Is mute — a veritable incubus.* 20 THE GRASSHOPPER. ENCHANTED insect thron'd in verdant ease Whose intimations of the ripening years First prompted that old monarch Cingalese, Ravana, to treat the motive which inheres Primordially in the crisp attack Of your inspired song and thus create The viol-bowed tribe which takes us back To four thousand B.C. To such a date Belongs his Ravanastron primitive — The Glorious Fiddle embryotic — Embodying the principle imperative Of friction versus noise chaotic. When daisy-drunk, O Cicale, thy voice Should make this dull prosaic old world rejoice.* 21 GASPARO BERTOLOTTL IF Music be the soul of Love then he WTio wrought the initial King of Viols Must be a God indeed. With wizardry Did Stradivari by persistent trials But perfect forth what Caspar first created, Through softening contours — sweet'ning soundholes- With seasoned timber variegated And wreathing round the well-nigh perfect scrolls He rafaelis'd the rugged Brescian mode, And, in the process feminis'd its joys — Acclaimed in many a jewell'd palinode — But give me, still, the Brescian's austere voice. Death claims j'ou not, your vibrant chord lives on Wherever Music brings God's benison.* 22 Violin by Guspar da Salo, Brescia, about 1570; len^Uh 14 1 ins. ; varnish, brown. (Author's.) See Note paj<,e 75. THE ASPIRANT. WITH rhythmical felicity — rare in one As adolescent as our Eric is — The wildest notes in fluent cadence run All personal. The music seems to kiss The violin endow'd with essential Joy ecstatic — sure sign of deft designs With loving labour wrought which critics all Detect — but none, save artists, see the signs Of that obsession sacrificial Imaginative art exacts from those who give, To vitalise a moment's vision, Love's life elixir, surely locative. Then climb with radiant vitality The golden way to immortality.* 23 "TWO SKYLARKS." ECSTATIC songsters, acolytes of heav'n, Whose grave apparel scarce befits that song — • Ne'er ceasing eversoon, nor held too long — Which thrills and throbs, lightening our leav'n ; As deft, exact and careful workers knit The brightest opalescent arabesque Of colours gay for smock or finer kit To garb some town Athene statuesque. A Slav inspir'd has prob'd the secret veil'd Of our sweet songster's most exultant mood, At highest rapture wild — yet all detail'd — Discov'ring our poor flat ineptitude. We bow, Muscovite musician. Greeting thee as our soul's physician.* 24 MAURICE RAVEL. 'T'^OSE strangely mordant chords which Ravel loves- -*- His sevenths — which add emphasis and trench The curves melodic as his music moves By clear-cut paths which ever loved by French Musicians — excepting nebulous Debussy whose atmospheric night-lights Illusively benumb — fortuitous — As th 'ignis fatuous — that dupe — invites Us into mystic bye-ways then departs With but the faintest adumbration Of what his nebulosity imparts. Ne'er turgid nor impressionistic Ravel's a master-painter realistic. 25 JEAN SIBELIUS. SUCCINTLY as Sibelius, with swift Unerring master-strokes, draughts lucid, bold And strong his thoughts thematic, born by gift Of clarity of mind enforced tenfold By curious directness and that love Of nature in her variant moods — Austere or wooing sweetly — riches trove And dreamt upon in his beloved woods Yet neutral tints abound as if he sought Some mystical affinity indign — Maybe some racial tendency distraught Or his re-incarnation condign. Naithless all's architectural, sure-planned, Just-balanced, classic and never contraband. 26 HOLST'S SONGS. THOSE four fine " Songs with Violin " were played Without an added instrument Embroidering the grave habiliment Of mediaeval dress chastely arrayed. A veritable miracle I heard that day Hard by the sacred well at Glastonbury — Near where, perchance, the Holy Grail is laid — Of sacred places the embodiment. I felt that old delight reborn arise — Recovered from antiquity, When men had faith in the Nativity And could concordant truths encrystallise In fervent verse — inviolable — And, as the sunbeam, pure — unsoilable. 27 STRATAGEMS. MY Ladie faire sings nothing — no one plays ! The ivory sleeps and patiently obeys Ey^s blind to Music's mysteries, Whose lode-star bright and magic vista is That ideal heav'nly sphere belov'd of seers Inspir'd ; their vision never veers From that imperishable Grail which Art Unveils for her true devotees at heart. Faint winged sounds^ — -whispr'ing thro' th'oriflam Of converse crisp, of barbed epigram — Rise from the ever-vibrant violin — It might be clay — some soulless kyolin ! Ah ! Chill and void are empty chatterings ! My cruel Ladie plays not — no one sings. 28 CHOPIN'S ANTIDOTE. CHORDS recrudescent, as an orchid's scent And very structure and exotic dress Repellantly appeal, rise persistent With luscious and sensuous caress, Inducing, ever, by their languishment, A certain sweet hypnotic immarcess. Redolent of their fev'rish ravishment, Peculiar to their preciousness. Designing rhythms, delicate and filigree As a spider's luminous silk-spun web. Betrays his mastery in an high degree As th' inscrutible ocean's flow and ebb. Let Bach's clear enfilade of crystal thought Elutriate this core of minds distraught. 29 THE NIGHT BEFORE. THE longed-for awesome Summons outthrust night- I call'd the Saints for guidance on my way — 'Fore dawn we scale the top and rush to fight Cross barbed wire in tangled disarray — Quo vadis? Visions rose of greensward slopes And that sweet peaceful home where bravest ones, All undeterred by evanescent hopes, Sat watching, waiting, working for their sons. When lo ! My friend with eager wistful eyes : — " No rest this fateful eve — some fifty men From each great school join hands and harmonise Old songs— e'en rhythms of great Handel's ken." Celestial music, which clean minds revere, Th' Alleluia Chorus, then, brought God's throne near.* 30 FUJI SAN. O FUJIYAMA, Mount of purest snow. Whose symmetry, majestic and supreme, Causes each maiden in the land Fuyo To emulate the austere perfect gleam Of Fuji's dazzling forehead with twin peaks ; Whose misty veil is as wistaria — Pale violet and white with jadelike streaks Reflected in the Lake called Biwa — The mirror for her sacred loveliness — Symbolic of Nirvana's perfect peace ; Receive the Sun's first roseate caress And ^mile auspiciously without surcease ; Then sorrow's hush'd — strife* still'd — and all the wide Brown earth itself seemeth beatified.* 31 PALACE OF ART. MASTER-ARBITER. " I see with pride your compasses, your busts," Sweet poetry and brushes, but what would ye ? ARCHITECTURE. " To my all embracing skill each Art entrusts The fashioning of a fane with eurythmy, Commodity and of proportions Exactly fitted unto laws acoustic ; Then Sculpture, Painting — each their portions Will give with gladness no less than Music And even lesser arts will find a place For meritorious endeavours high, Nor will pale Envy, of the double face. Be present — such is the diplomacy. Then ]\Iaster-Arbiter, sweet viol and verse Here, once again, will lead the universe." 32 THE CENTRE-FORWARD. I'LL tr}' to limn you. Captain bold, as you Stand waiting for the whistle — " bully off " — See you give the adversary all due, That pristine goal and then my cap I'll doff. The ball is snowy white but very soon Your clean, crisp strokes bedim its early lustre And as you push the sphere — veritable boon To your next player — see all their backs a'fluster ! The pace is great, but when you thought you spied A nimble foeman thro' the further side Away you dash t' assist your centre-half — At cfrcle's edge I all but wrote your epitaph ! The sporting effort — therein lies your fame As Captain in the oldest British game.* 33 Incidents — 4th TEST, OLD TRAFFORD. 1921. LIKE happy flies which sip the nectar from The jars of drugged essence of Mount Hybla, Enthusiasts in thousands got a bomb When giant Armstrong tried to tempt a nibbler Three times successively, provocative Of northern ire from those who knew the rules, Then sits him on the greensward, locative — A veritable bird of prey o'er gallinules. When coached by cock-sUre white-clad referees He stood his ground and spurned the armistice, Then bowls twelve balls on end — hence " breeze " — And showed he little reck'd the rules, I wis ! Said one " Young Tenny, tried to bluff the 'Mues ;" I-eague-cricket standard, such a ruse. 34 MIXED VINTAGES. ASHOVER BELLS. ASHOVER bells of dulcet tone Sweetly a' tolling men do call Soaring above the winds' high moan " To taste on meats that feed the soule." The second bell of plaintive note — A fine ingratiating sound — Whose warning pulses gravely float — " Repent, e'er you are in the ground." Another bell gives piquant warning, That long's the road, tho' life be brief ; Man may enjoy his eve, his morning, But cannot here for ever live.* 36 ENTRANCED. SHADOWED onto a gauzy curtain Methought — wild roses in a vase — The vision passed. Not in reality wild roses But the bright cheeks of my beloved. Outlined onto a gauzy curtain Methought — crystals twain opalescent — The vision went. Not in reality twin cr^'stals But the glorious billowy breasts of my beloved. Involute on a gauzy curtain Methought — two flowers of passion — The vision stayed. Behold the two red passion-flowers of my Beloved's lips. my beloved come to me, My garden grows flow'rets red and white, My treasure-house holds jewels bright. And in my heart is ecstasy At our immingled unity.* 37 FAITH, HOPE, AND CHARITY. THINK you God prefers a miawling prayer To an exquisite poem of love — Albeit addressed to a " treasure flower " — When joy is the perfect gift from above ? Think you you use your powers of thought Best willed by fertile progenation, All heedless that your means are nought To give your young fair education ? Think you all souls damned to eternity Which fail to hold your little creed ? 'Tis those who act without trepidity — Faithful — harmonious — who live indeed. 3« LYRIC. NO ward against that paradise, When thou dost me beguile, Nor shield have I against thine eyes, I wis, Except love's litanies. But when thou brok'st our long still calm With thine all-endearing voice It was as though some Heavenly balm Made nature all rejoice I wis, And sweetly sing love's psalm. But when thou kissest I do blaze With kindled hot desire — Moments without a just appraise — And ever dost inspire I wis, ' Love's course throughout our days. 39 SONG FOR MUSIC. OMAID of the long-lashed eyelids ; Me, needs you must love — The curves are like his bow — Cupid's — The downy brows — soft as a dove — He traced that fairy coraline mouth Sweet as a rosebud in the South. Me, needs you must love. O maid of the sapphirine eyes ; Me, needs you must love — - The lark in rapturous ecstacies He filched that tint from the dome above He brought it down from the rarified air To give you frankness — all debonnair — Me, needs you must love. 40 SONG FOR MUSIC— Continued. O maid of the blackbird's full rich voice ; Me, needs you must love — To make me evermore rejoice That never can I have enough Of sweeter music than Orpheus Made by an old sarcophagus. Me, needs you must love. Then come to me and I will prove ; I, who need'st thy love — Everything imperative To perfect unity — I'll prove More constant, sure and true Than any in Love's retinue. O, come to me my love. 41 THE TRAVELLERS' TREE. HE lay adying in a far country, A parch 'd country — He thought of his home in a south county Where all things bloomed luxuriously. He whisper'd her name all tenderly, All tenderly — " My Glwadys, with our fiow'r, come, cream-rosy From the Traveller's tree, bees' sanctuary." She had sent him a sprig of cream-rosy. Of cream-rosy — Eight weeks gone by — and press'd all comely With her silver-point, limn'd skilfully. 42 THE TRAVELLERS' TREE— Continued. They heard his last faint : — " Gladness mine — Gladness mine — Heart's blood fails, but souls divine intertwine Etherealis'd puis-sant com-bine." That very day she pass'd away with flow'rs bank'd — With flow'rs bank'd— Beneath her tree — their tree — all sacrosanct To courtly bees wondering at her " God be thank'd."* 43 THE LARK. O BROWN bird singing If a word could. Soul-pulsating, Pourtray your mood. What would it be ? Empyreal ? Free ? Nectar-devised ? No ! 'Tis ecstasy. 44 TOUT PASSE. TH' apparent friabilitie Of earthly things en masse Because of their fragilitie Tout passe, tout casse, tout lasse. Time's gentle liberalitie Of touches hidden on th' arras Achieve too soon mortalitie — Tout passe, tout casse, tout lasse. But the greatest loves humanitie- Despite inherent matter crass — Can hold with bravest sanitie Ne passe, ne casse, ne lasse * 45 THE LOVER'S RETURN. CEASE your grumbling restless bee ! My Lord and Lover comes to me ! Every tree stands list'ningly For his beloved step. Flowers, now, look your brightest ! Lily — spotless — shine your whitest ! Laughing airs breathe your lightest Lest I grave my epitaph ! Lustrous brown my lover's eyes — Agate pools in paradise — Sound my soul and realise Infinite eternities.* 46 THE ROSE. LIKE unto love is yon fair rose, Around it heav'nly fragrance blows, Yet tears of dew its leaves enclose, Like unto love. 'Tis cull'd to fiow'r upon the breast, Tho' sharpest thorns its stem infest — They must be gather'd — 'tis manifest — Like unto love. If proud hands the twin buds sever. They die. Their blossoms quiver But the thorns are keen as ever, Like unto love.* 47 THE ASPENS. THE ever-whispering aspen-trees. Conducting their secret minstrelsy, Alone make melodies Mysteriously. When flowers droop, bent low with heat Too listless far to listen, Nor watch the golden heads of wheat Imperiously Erect, nor ever feel the faintest breeze The aspens know has risen. Hot scents abound, yet never do Those shimmering trees want air — The elms are statues and the yew Is sulkily aware That stagnant heat won't brown Their green, tho' shiv'ring grasses cease to sigh And dumb-beasts seek earth-down Ingenuously In the umbrage aspens give. 48 THE ASVE'NS— Continued. And as I dreamt of the silence of God — A silence which only the angels hear — The little feet came pattering near And paused at the aspens' eisteddfodd, Then gaily she laughed " Ah ! there you are ! " It seemed to be the song of a star To my half-reluctant palinode. 49 BIRD OF PARADISE. XT THAT everlasting wish can I send my '^ Blue-Bird who first endued my love with breath, Who fired amain incontrovertibly Love's fuse — the greatest thing in life, past death — Extasing into flame that vital spark Which soars to seek the Heav'ns illimitable Hegemony — that puissant hierarch Attained only through love's crucible ? This fragrant thought from the far orient — Whence many a beauteous flower divine, Ambrosial — vital — ambient. Adorns love's mystery, its anodyne — " May ev'ry day be as the southern sun, bring wine. Your years as the undying salube pine." 50 A LITTLE THING. WARNING. Corpora amore cadunt — Cor da ligata manent. MEDITATION. A LITTLE thing— a ring— to bind Two hearts and build with surety Ramparts impregnable 'gainst the blind, The fearsome march which silent Tempe Steals upon us — predesign'd. VALE ET VALETE. Be it sorrow — ^be it laughter In both present and hereafter May your souls, as now, respond To the hand's undying bond — Summer, winter, here — beyond And remain God-benison'd.* 51 A BIRTHDAY GREETING. MAY all your years be happy years — Not sad nor comatose — May all your tears be joyous tears Your days as June's rose. May Fortune smile and friends hold fast And add their salt to life ; Then, where-e'er your lot be cast The Blue-Bird's car you'll drive. 52 THE ENGAGEMENT RING. IF once I dream of you as dead — • Those vibrant pulses lying still'd — Life's glorious enterprise were vain Too soon fulfilled. No, no ! your ever-radiant soul Lives on where happy spirits gain Eternal comfort and are for ever blest ; Where earthly beauties are intensified To welcome each new guest. This gem — September's chrysoprase — The green of spring and witness to our troth, 'Tis Orpheus list'ning to his lute Symbolic of love here — beyond : Beloved — our eternal bond ; Heaven's gain — earth's loss — involute. 53 TO AN ENGINEERING MAID. (With a "Scissors to Grind, O" Card on her Birthday.) NO need for a micrometer Nor even a speedometer To tell you how the years flit on. May your wishes — all divine — Prove a lasting anodyne (Oh ! what dreadful rhymes to hit on) If you ever think of gauging Time's centifugal line. And now you're three and twentie If your cry's— risorgamente — Just apply a close recension And brouse — tm pen — trh lente Think of wine and song in plentie And then to you a notable ascension Will come at tre e vente with dolce far niente. 54 SEEING HIM OFF. SHE'D a rose upon her cheek, bewitchin' wi' a dimple Had Eileen, fair Eileen, As she ran to see me off — so radiant and simple. All frolicsome and gay, like a zephyr at the dawTi An' she whisper'd at the door, wi' eyes a' shimmereen " An' I hope it'll be fine for harvestin', the mom." But another with her came, also full of fun, Blythe Doreen, bright Doreen, A red shawl on 'er shoulders, she capered like a fawn ; On 'er lips a winnin' smile, eyes glistnin' in the sun. An' she whisper'd at the door, wi' lids a'quivereen, " An I hope it'll be fine for harvestin', the mom." I answered wi' " oo aye," in my shy kind o' way, Whiles between, whiles between, For foolish-like but honest, mi' thoughts were o'th hay, When up comes little Kitty, a singin' of a ditty. An' she whisper'd at the door, a beamin' like a queen, " An I hope it'll be fine for harvestin', the mom." You could a fell'd me wi' a straw — I gives a little cough And just sez : — " aw — buzz off."* 55 THE JUMPER KNITTER. THOUGHT she— 'tis but human laziness Impels the dwellers in these tenements To grow those aspidistras — more or less — • I'll seize God's blue — His firmament. From earnings slender, week by week, She set aside some unclean bits of bronze Till — scorning lunch — she went to seek A florist in the market — one Alphonse. With treasure trove she hurried back To her grim workshop in the court ; The work-girls knew her rapid knack But wondered at the work she wrought. Her colours seemed to leap aright — Their reds and blues clashed, all ajar — Her's were indeed a gorgeous sight, Like Fiamma di Perugia. Homeward she wandered roseate Through the pungent alley's labyrinths. Nor ever feeling nauseate For dreaming of her hyacinths. 56 THE JUMPER KmTTE^— Continued. Her tiny refuge seemed immense " Blue is for Our Lady Fair : White betokens innocence : Red is love's sceptre rare And royal Purple, penitence." The compost lay in the potter's sherds And only the tips discovered Where the hyacinths lived as birds Beaks peep by the mother-bird's head. Weeks passed and all was well ; Fair leaves arose green and tall Enwrapping the longed-for asphodel Which was to be all magical. But never a flower with all her care Shewed to grace her first-floor-back. Resigned she sighed and, in despair. She groaned aloud " life is black — That devilish pipe with its chemical fume Has withered my flowers, they'll never bloom." 57 THE JUMPER KNITTER— Cow/mM^. She asked the Head Horticulturist To pardon her pride, let her think instead Aspidistra's flowers are amethyst. Surviving neglect, for by Him they were bred. 58 INCIDENTAL. ARISING w-ith lark at dawn— A dawn of pure alizarine — • And rabbits coursing by the lawn Where pearls of dew on em'rald green, Rosytipt and crystalline, Forbade all trespass — wondrous mom ! 'Stead of rolling or of mowing I went off to chum up carbide — Larks extasing — cattle lowing — Turned the poultry all outside, Such a cackle, such a crowing ! Next I wash'd the fowlhouse down. Re-arranged the scratching litter, WTiilst a robin, red and brown, Carol 'd through the sparrows' twitter. The blithesome day from five to one Wliilst Denys labour'd, Denise spun. 59 mClDENT AL— Continued, Lest you should think that spinning flax Was all that my sweet sweeting did, I'd have you know she's not so lax — An insensate caryatid — Insouciant or merely vapid — Whilst Denys digs or wields the axe. She has no buxom serving wench, No culinary commandant, Nor " tweeny " at the washing bench, Yet nothing ever looks aslant, Nor'd contretemps her spirits quench. Nor must you think because a guest At one fifteen we had to meet — A worn-out worker needing rest Who travels down from Cannon Street — That this disturbs her set routine : — All things comely — all things clean. 60 INCIDENTAL— Continued. Off we went towards one fifteen Aclimbimg Sheepfold's dusty hill And noted cowslips bow'r'd in green Along the lane where music's thrill Comes ever at the silv'ry rill Which mirrors sky all azurine. In the ditch — part ebriate — The quaintest couple came to view, 'Midst Robin-red — finibriate, And Speedwell's splendid bluest blue, Incongruous — invertebrate — Professors — tatt'demalion Sat Galatea — Pygmalion — Unkempt in beauty's highest heights ! Discordantly the tramp-man croaks : — " Lazy-lookin' sorter blokes."* 6i THE LITTLE ONE. BUSY. Daddlyoo ? " " Yes, very, Alethea " " Then I'll pull out Old Johnny Crow And ask some questions you'll excuse 'Cause you need'nt hear." " What's that I wonder ? He is a funny dear ! Yes, I know its that old " guenpin " Goin' hoppin' along like an'fin," Said my Alethea. " Oh ! what a drefful ugly thing — I hope it wont come here — Saying ' ask no longer what am I ! My name's the hippopotami' Spell 'd quite clear." 62 THE LITTLE O^E— Continued. "Here they are in class Sittin' round quite near And there's the wise old elephant " . (My remark's irrelevant I fear, I fear). Yet, this happy blend — Innocent, sincere — Of childish ways, great withal Help'd me design a cathedral ! " I thank you Alethea."* (^?> ENCHANTMENT. DAY-DREAMER. "/^ FAIRIES who live in the serpentine ^^ And irridescent rainbow's line Fly down, fly down ; For here's the blithest time of June When nature sings the sweetest tune And common things seen near divine." FAIRY. " 'Tis true we live in those wonderful tints Where em'rald, rose and gold catch glints Come up, come up; See our strange and lustrous colours Which makes your earthly ones as dull as Clouds — mere dark, gloomy mezzotints." 64 ENCHANTMENT— CoM^inMgrf. DREAMER. " I cannot leave my beauteous flow'rs But use your high supernal pow'rs Glide here, glide here; I'll shew you deepest blue harebells And many wondrous ocean shells, Come sip the dew in cistus-bowers." FAIRY. " Our infinitesimal glow-lamps bright Are overpow'r'd by your daylight Come then, come then ; The eagle fair will bear you here Serene and gay — nor harbour fear — He loves a blue and dizzy height, But our inviolate rules prevent — On pain of death — our earth-descent, We come, we come, When moonlight hours attend our wings And we can dance in fairy rings All debonnair for merriment." 65 THE PINK PIPE. IN Manchester there stands a chimney Of an incredible and nauseous type ; It's passable but when veil'd dimly By kindly fog screening this tall pink pipe. My garden-wall of purple-black and greyish Hand-made bricks has beauty rare ; Its sheen of ivy, myrtle-green and every-dayish Friendly look assist one to prepare For common round and daily task sure-handedly. Whereas the pink brute gives the meal a bitter taste And makes one feel at enmity, quite candidly. Ironic, too, its import, for this machine-made monster When belching forth its turgid cloud of dense black smoke Thrice daily, produces the very dirt preposter- -ous, killing the breath of cleanliness baths should evoke 66 The Baths' Chimney, Hij^.h Street, Manchester ; from a Water-Colour by the Author. A PLEA FOR LIGHT AND AIR. RAZE those ware-rooms antiquated From nether Deansgate unto Albert Square. Why must our folk be saturated With dirt, bad air ? A narrow thoroughfare Has slender commendations, none as rare As those obtain'd by gracious light and air. Be wise, at risk of being over-rated, Plan twin boulevards, all foliated. And central build an operatic house. Then may this great commercial hub prepare The way — forestall those slurs invidious. The new Laurentian build where studious Minds already are found congregated And make new Manchester without compare. Plant Piccadilly full of flowers fair ! And never dream great projets anti-dated.* 67 THE CRICKET-FIELD. THE WESTERN CLUB. TTOW many who have learnt to play the game ■'-■^ On this broad smiling neatly-smoothen lawn — A goodly few, I wis ! Some risen to fame ; Some far away a colony adorn — Who wistfully revisualise light on The wavy grass which 'broiders bordering fields Where Heaven's winds do freely blow right on To drive away the sriioke " the workshop " yields ? How many fight anew the fights of old Remembering the pristine " century," Or how some valiant opponent bowled But smitten was to distant boundary ? Straight all returns — the long forgotten mood Of joy at sight of your green quietude. 68 POSTLUDE & NOTES. POSTLUDE. If critics ask " why ? " I would reply : — " Sir, for pleasure; also to avoid the sending of copies in script to those who, no doubt, over-rate their value and to comply with the wishes of those who have urged me to get them printed." The classical reader and the modern versifier will be repelled alike. The one because of the many long words of Latin derivation and the other because I have not con- formed to the admired modern way of printing one word as a line whilst its neighbours contain anything from two to, say, fourteen : as a method of making virile, live verse it's very affectation condemns it. We English, with our long-suflfering simplicity, are not as simple as that. " Credere nil sapiens amat, omnia credere simplex ; Scilicet hie aliis credulus, ille sibi " ! I fail to see, however, why one must be impelled to find little gritty one-syllable Saxon words when others arise naturally — which hit one's mood — but which may be long or even strange to the language. The mere fact that little words make easy work does not appeal to me at all. If it be said that they are the most beautiful, I demur. That is a question of fineness of musical ear. 70 POSTLUDE— Cow/mw^^. As the sonnet is admittedly the most difficult form of verse I suggest that it is only those who have essayed a sequence of sonnets in both forms — I mean, the accepted short-word mode and in my freer way — whose criticism may be valuable. The depredator of this little selection may rest assured that nothing will survive which does not merit a rescue from oblivion. With regard to the particular form of sonnet I am whole-heartedly in favour of that which Spencer, Shakespeare and others have adopted. It is the oldest of all and came from Sicily in the twelfth century and consists of fourteen lines of ten beats, each line rhyming alternately and the whole being summed-up in a rhymed couplet, called " illegitimate " because it departs from that of Arezzo (c. 1250) or Petrarch or Michel Angelo it is, in reality, the most legitimate because the most primitive. I consider, however, that the Petrarchan form is suited admirably to the Italian language, with its rounded softnesses, but that a higher test is evoked by that concise ending, of the Elizabethan sonnet, which should convey the whole. Moreover, it fits our sturdy northern character as a glove. 71 VOSTLVDE— Continued. TO ANY SONNETEER. The perfect issued sonnet 'resteth Time — It is eternal, yet the monument A moment giveth. Rossetti's rhyme,* Petrarchan and providing high content, Redeemed is by its sole " fault " and freed From the " legitimate " debased form — A stranger to the late Italian breed — Approaching what I deem the real norm Because its couplet, all Shakesperian, Harks back and back to fairest Sicily — Although some deem it but Spencerian — Whence came that round full end in certainty. Let noble utterance, then, perfect thine aims Unprejudiced bj^ prior famous names. ♦Rossetti's Sonnet on the Sonnet is meant, written for his mother, 1880, it is copyright, but being accessible and well-known I do not give it. PHILIP ROBSON, Clarendon Road, Manchester — 192L 72 NOTES. p. I. Designed for treble voices and muted strings, pianissimo at the reception of the Holy Eucharist and set to music by F. Kessler, 1910, and published by the Opus Music Co. (Organ Score). P. 2. From St. Paulinus de Nola : — " Ferte Deo, pueri laudem, pia solvite vota, Spargite flora solum, praetexite limina sertis ; Purpureum ver spiret hyems, sit fioreus annus Ante diem, sancto cedat natura diei." The title is mine. P. 3. With a design for a St. Michael Banner for Chalice Well, Glastonbury. P. 4. Silver candlesticks of continental workmanship — possibly Nuremberg. Marked T.D.? Thomas Danner, master in 1O21. P. 5. On St. Sophia, Constantinople. The quotation is from Constantino. P. 6. To a bust in statuary marble, by Fontana, exhibited in the Royal Academy, in 187 — . Works by this artist will be found in the Liverpool Art Gallery. 73 NOTES — Continued. P. 7. This unique watch was designed by the famous Pre- Raphaehte for the late Edward Robert Robson, F.S.A., F.R.I. B.A., F.S.I., and, from him, it has descended to the author. P. 9, The underlying ideas of these three sonnets are (i) Seek 10, II reticence, (2) Mere repetition and axiality are not composition in the best sense (3) There is no originality in Architecture but is obtained by new combinations of old ideas. You can have ugly originality but not in Architecture (nor in any other Fine Art) for then it becomes mere building. P. 16. Descriptive of a proposed War-Memorial, consisting of oak-work to the Anson Chapel, St. Chrysostom's Church, Victoria Park, Manchester. It was intended that a frieze of very bright Limosges enamels — commemora- tive of the dead — should form part of the scheme — with a statue of Christ, regnant, in the act of blessing. The illustration is from an old Italian Crucifix, which is used at Ringley Church, Manchester, on a War- Memorial. The author has altered it slightly and has had a few casts made from it, one of which he gave to St. Chrysostom's Church. The quotation is from R. L. S. P. 17. An attempt to show the unity of the Fine Arts, notably the close link between Architecture and Music. The title is from Schelling. P. 18. On a cut cornelian beetle from the Hilton collection and taken from a tomb about 6,000 B.C., Egyptian. 74 "i^iOTES— Continued. P. 20. To my bow, by Eugene Sartory, of Paris, of superb workmanship. Exhibited at the Franco-British Exhibition, 1908. The first sonnet on the bow. P. 21. The frictional noise which a grasshopper makes scratch- ing its wing is supposed to be the idea from which bowed instruments sprang. P. 22. Gasparo Bertolotti — known as " Caspar da Salo " from his birthplace, Salo, on the Lago di Garda, Brescia, Italy — the inventor of the violin about 1560. He was bom in 1542. The particular example to which this sonnet is written is the finest known specimen extant and is called " The Cannon " from its peculiarly power- ful tone. It is 14J inches long and has brown varnish. The embroidery on which it is is old work from Greek Islands (with modem insertion). It was made up at Smyrna, but is all of the same date approximately. P. 23. At Eric Fogg's concert, Manchester, 1921. P. 24. On the musical-composition " Two Skylarks," for pianoforte, by T. Leschetizky. P. 30. Of those 50 who went over the top (Somme), only 15 returned. P. 31. Fujiyama — the sacred mountain of Japan. Fuyo= lotus. Fuji batai — the Fuji forehead, considered the perfect shape of coiffure in Japan. Bina — the Lake of the Lute, from its shape. Nirvana's perfect peace — typified by the 8 petalled lotus and by the 8 sides of Fuji. 75 NOTES — Continued. P. 33. The three points pecuHar to Hockey — " bully off ; " "circle" and "push" stroke. The circle has to he reached before a goal can be hit and the man who invented this made the game, but he remains unknown. The " push " stroke emanated from the Blackheath Club in the late nineties. As far as 1 know the first sonnet on hockey. P 34. As this cricket-match between Australia and England will, no doubt, be regarded as one of the most remark- able ever played, being an eye-witness, I chronicle the facts. No play being possible on the first day owing to rain, this " three-day" fixture became automatically, under Rule 55, a " two-day " match. Being in a lead- ing position, Tennyson, the English captain, declared the innings closed at 5-50 leaving the Australians 30 minutes to bat in a none-too-good light. This contravened Rule 54, which stipulates that no declara- tion may be made later than one hundred minutes before " time " in a two-day match on the first day. Armstrong kept his men in the field after conference with the umpires but Fender and Tyldesley (E.) went into the pavilion. Later the Australians followed. The big roller was produced, but was stopped short of the wicket. After wasting twenty minutes Armstrong led his team out again amidst much boo-ing from a certain section of the crowd opposite the pavilion. Three times he tried to bowl and as he ran each time the crowd yelled and hooted. He then sat on the grass and it was not until a repiesentative from the pavilion 76 NOTES — Continued. vent round the ground explaining Tennyson's error — and Tennyson himself with an umpire had crossed over to explain the incident to the main discontents — was Armstrong able to resume — Tennyson as he re- turned patting Armstrong on the back, evidently apolo- gising for such unseemly behaviour. Now, as Armstrong had previously bowled the last over, he broke Rule 14 by going on again ! I was in the crowd and various angry exclamations were made and my couplet is intended to show how the insidious influence of the vile " win-tie-or-wrangle " idea is spoiling cricket as it has spoilt association football. How such a declaration came to be made is incompre- hensible. Clearly our captain would be in close con- sultation with Fr\', Warner, Spooner and other famous cricketers who were in the pavilion at the time — some being the actual makers of the Rule they broke I My impression is that the crowd (some 30,000) was annoyed because a local favourite, Tyldesley, who was playing delightful sparkling cricket, was well-set when the innings was closed prematurely. It was suggested, also, that it was a dodge of the Australians to upset the batsmen by going for refreshments. As a crowd I do not give them credit for observing Armstrong's 12 balls in succession, at any rate round me there was no comment on this except my own. Even the umpires were at fault. A drawn game, of course, became almost inevitable. 77 NOTES — Continued. P. 36. Ashover, Derbyshire. This musical peal has quaint couplets to each bell somewhat Elizabethan in flavour. P. 37. The idea of the first part is from a translation of a street song of Baluchistan, in Coloured Stars, (Blackwell, Oxford) by E. Powys Mathers. P. 42. The Traveller's Tree in a garden near East Grinstead. It has a pungent scented flower which the bees love. The only (supposed) other example in England is in Kew Gardens. P. 45. An old French proverb completed. P. 46. The lover expected " from the front." P. 47. Based on a poem by Luis Vaz de Camoens, Portuguese poet, 1524-80. He wrote- the first epic in a modern tongue — Os Lusiadas (The Lusiads) in ottava rima and it is his most famous work. Lord Strangford's version was set to music by Davy and arranged as a glee by V. Novello. P. 51. With a wedding gift. P. 55. Overheard at a railway-carriage door. Intended as an encore (recitation) in dialect. In Lancashire, for instance, " buzz " would be " booz." P. 59. From life. 78 NOTES — Continued. p. 62. For Alethea Robson. P. 67. A suggestion for making two fine foci — or open spaces in Manchester. Thus leaving the " Piccadilly site " open and improving Albert Square by grouping the public buildings down to Deansgate (opposite the Ryland's Library) and, on each side, planning wide boulevards with arcaded walks, north and south, where would come, eventually, the best shops. At the bottom, in Deansgate, the Library ; in the centre the Opera House ; and at the top the Art Gallery. 79 VICK. ASHWORTH & CO. Ltd., INCORPORATING PALMER. HOWE & CO.. Printers, Princess Street, Manchester. INDEX TO FIRST LINES. A fair divinity you bow before Apart — aloof — the little Chantry calls Arising with the lark at dawn Ashover Bells of dulcet tone " Busy Daddlyoo " ? Cease your grumbling, restless bee Chords recrudescent, as an orchid's scent Consummate craftsmen unconcerned that Art Corpora amore cadunt — Cor da ligata manent Could Lionardo see you he'd despair Enchanted insect throned in verdant ease Entranced architect build well thy schemes Enveloping the downs' soft rolling crest ... Ecstatic songster, acolyte of Heaven He lay a-dying in a far country How many who have learnt to play the game If Music be the soul of love, then he If once I dream of you as dead I'll try to limn you. Captain bold ... In Goddes praise your paeons raise In Manchester there stands a chimney " I see with pride your compasses, your busts Page 11 16 59 36 62 46 29 12 51 13 21 10 15 24 42 68 22 53 33 66 32 8i INDEX TO FIRST LmES— Continued. Like happy flies which sip the nectar from Like unto love is yon fair rose May all your years be happy years... Most gracious woman whose frank face revered My ladie faire sings nothing — no one plays Needs must love whom thou kissest morn and eve No ward against that paradise No need for a micrometer Now come we to Thine Altar-Stair ... O brown bird singing ... O fairies who live in the serpentine O Fujiyama, mount of purest snow O magic wand of Pernambuco wood O maid of the long-lashed eyelids ... O red cornelian scarabeus mine Raze those murky ware-rooms antiquated Revision this old sorry scheme of things Shadowed onto a gauzy curtain She'd a rose upon her cheek bewitchin' wi' a dimple Some sixteenth century artificer Succinctly as Sibelius, with swift Th' apparent friabilitie The Architects were Anathemius The artist who would fain despise the concord The ever- whispering aspen-trees Page 34 47 52 6 28 14 39 54 1 44 64 31 20 40 18 67 9 37 55 4 26 45 5 17 48 82 INDEX TO FIRST LINES— Continued. The longed-for awesome Summons outthrust night The perfect issued sonnet 'resteth Time Think you God prefers a miawling prayer... Those four fine " Songs with Violin " were played Those strangely mordant chords which Ravel loves Thou wilt outlive me as thou didst outlive Thought she — 'tis but human laziness To Desiderio, this gem of cinque To Thee all hail : O winged Pursuivant Utopian effort pithed with vision Votarial verse ... What everlasting wish can I send my With rythmical felicity — rare in one Page 30 72 38 27 25 7 56 8 3 19 VII 50 23 83 DATE DUE -'W "'•"•^ :/^ 1 CAVLORD PRINTED IN U S. A. UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000 592 222 4 •^