Digitized by tine Internet Arciiive in 2008 witii funding from IVIicrosoft Corporation littp://www.arcliive.org/details/edwardfitzgeraldOOgrooricli EDWARD FITZGERALD AN AFTERMATH 6oo copies of this book have been printed on Van Gelder hand -made paper and the type distributed. /^ EDWARD FITZGERALD: AN AFTERMATH BY FRANCIS HINDES GROOME WITH MISCEL- LANIES IN VERSE AND PROSE PRINTED FOR THOMAS B. MOSHER AND PUBLISHED BY HIM AT XLV EXCHANGE STREET, PORTLAND MAINE MDCCCCII CONTENTS FORKWORD ...... THE TARNO RYE (fRANXLS HINDES GROOMe) BY THEODORE WATTS-DUNTON EDWARD FITZGERALD: AN AFTERMATH BY FRANCIS HINDES GROOME MISCELLANIES : IN VERSE AND PROSE FITZGERALD'S MINOR POEMS : I. THE MEADOWS IN SPRING II. OCCASIONAL VERSES III. BREDFIELD HALL IV. CHRONOMOROS V. virgil's garden VI. TRANSLATION FROM PF:TRARCH VII. ON THE DEATH OF BERNARD BARTON VIII. THE TWO GENERALS NOTES ON CHARLES LAMB . THE ONLY DARTER " MASTER CHARLEY " . CONCERNING A PILGRIMAGE TO THE GRAVE OI EDWARD FITZGERALD .... P.\GE ix xvii i 25 95 TOO 105 1 10 118 119 1 2 I 129 135 141 •45 28168:] ILLUSTRATIONS i edward fitzgerald 2 francis hindes groom e 3 mary frances fitzgerald 4 bredfield hall 5 fitzgerald's cottage at boulge 6 farlingay hall 7 the port of woodbridge 8 Fitzgerald's yacht ' scandal ' 9 market hill, woodbridge lo little grange, woodbridge i i boulge churchyard 12 Fitzgerald's grave at boulge FACSIMILE of AN UNPUBLISHED LETTER PROEM PROEM CANN'Ol' sufficiently thank you for the high and unmerited honour you have done me to-night. I feel keenly that on such an occasion^ with such company., my place is belo7ii the salt ; but as you kindly ini'ited me., it was 7wt in human nature for me to refuse.^ Although in knowledge and comprehension of the two great poets whom you are met to comme7norate I am the least among you, there is no one who regards them with greater admiration, or reads them with more enjoyment, than myself I can 7ie'cer forget my emotiojis when 1 first saw FitzGerahPs translations of the Quatrains. Keats, in his sublime ode on Chapman'' s Ilomer, has described the sensation once for all : — ' At a dinner of the 07nar Ktiayydni Club in London, ( Deeember 8t/t, fSgj), The Hoiourahle Jolin Hay wlio /tad been introduced by Mr. Henry Norman as ' soldier, diplomatist, scholar, poet, and Omarian,' dilivered the following address, pronounced by all who heard it ' a masterpiece of literary oratory.^ PROEM " Then felt I like some watcher of the skies When a new planet swims into his ken." The exquisite beauty., the faultless form, the singular grace of those amazing stanzas., were not more tvonderfiil than the depth and breadth of their profound philosophy, their knowledge of life, their dauntless courage, their serene facing of the ultimate problems of life and of death. Of course the doubt did not spare me, which has assailed many as ignorant as I zvas of the literature of the East, whether it was the poet or his translator to whom ivas due this splendid result. Was it, in fact, a reproduction of an antique song, or a mystificatioji of a great modern, careless of fame, and scornful of his time 1 Could it be possible that in the eleventh century, so far away as Khorassan, so accomplished a tnan-of-letfers lived, with such distinction, such breadth, such insight, such calm disillusion, such cheerful and jocund despair 1 Was this Weltschinerz, which we thought a malady of our day, endemic in Persia in 1 100 1 My doubt only lasted till I came upon a literal tra?islatio/i of the Rubdiydt, and I saw that not the least remarkable quality of FitzGerald^s poem was its fidelity to the origifial. In short, Omar was a FitzGerald before the latter, or Fitz Gerald was a reincarnation of Omar. It is not to the disadvantage of the later poet that he followed so closely in the footsteps of the earlier. A man of extraordinary genius PROEM had appeared in the world ; had sung a so?ig of incomparable beauty and power in an e?iviro?iment no longer ivorthy of hifn, i?i a language of ?iarrow range ; for many generations the song was virtually lost ; then by a miracle of creation, a poet, a twin-brother in the spirit to the first, was bor?i, who took up the forgotten poem and sang it anew with all its original melody and force, and all the accumulated refine- ment of ages of art. It seejns to me idle to ask whicJi was the greater master ; each seems greater than his work. The song is like an instrument oj precious workmanship and tnarvelous tone, which is tvorthless in common hands, but 7C'hen it falls, at long intervals, into the hands of the supreme inaster, it yields a melody of transcendant enchant- ment to all that have ears to hear. If we look at the sphere of influence of the two poets, there is no longer any comparison. Omar sang to a half barbarous province; FitzGerald to the 7vorld. Wherever the English speech is spoken or read, the Rubdiydt have taken their place as a classic. 7 'here is not a hill-post in India, 7ior a village in England, where there is not a coterie to whom Omar Khayyam is a familiar friend and a bond of union. /;/ America he has an equal following, in many regions and conditions. In the Eastern States his adepts forin an esoteric sect ; the beautiful volume of drawings by Mr. Vedder is a centre of delight and suggestion wherever it exists. In the cities of the West you will find the Quatrains PROEM one of the most thoroughly read books in every dub library. I heard them quoted once in one of the most lonely and desolate spots of the high Rockies. We had been catnping on the Great Divide, our " roof of the 7i.'orld,'" where in the space of a few feet you may see two springs, one sending its 7vaters to the Polar solitudes, the other to the eternal Carib summer. One morning at simrise, as we were breaking camp, 1 7vas startled to hear one of our party, a frontiers- man born, intoning these ivords of sombre majesty : — " ' Tis but a Tent where takes Ms one day's rest A Sttltdn to the realm of Death addrest ; The Sultan rises, and the dark Ferrdsh Strikes, and prepares it for another Guest.'''' I thought that sublime setting of pri7?ieval forest and pouring canon was worthy of the lines ; I am S7ire the dewless, crystalline air ?iever vibrated to strains of more solemn music. Certainly, our poet can never be numbered among the great popular writers of all time. He has told no story ; he has never unpacked his heart iji public ; he has never thrown the reins on the neck of the winged horse, and let his i^nagination carry him where it listed. '■'■Ah I the croivd must have emphatic warrant,'" as Browning sang. Its suffrages are not for the cool, collected observer, whose eye no glitter can dazzle, no mist suffuse. The many cannot but resent that air of lofty intelligence, that pale and subtle PROEM smile. But he will hold a place forever among that limited number 7vho, like Lucretius and Epicurus — without rage or defiance, even ^inthout unbecoming mirth, — look deep into the tangled mysteries of things ; refuse credence to the absurd, atid allegiance to arrogant authority ; sufficietitly conscious of fallibility to be tolerant of all opinions ; with a faith too wide for doctrine and a benevolence untrammeled by creed ; too wise to be wholly poets, and yet too surely poets to be implacably wise. FOREWORD The Clay that I am made of once was Man, Who dying, and resolved mto the same Obliterated Earth from which he came Was for the Potter dug, and chased in turn Through long Vicissitude of Bowl and Urn : But howsoever moulded, still the Pain Of that first mortal Anguish would retain, And cast, and re-cast, for a Thousand years Would turn the sweetest Water into Tears. THE BIRD PARLIAMENT. FOREWORD S originally printed An Aftermath was the iirst of two papers contributed to Blackwood's Magazine^ for November, 1889, and March, 1891, which, "a good deal extended," were reissued in 1895, under the title of Tzuo Suffolk Friends ^ From the brief Preface to the revised work, now out of print, it is clear that Groome rightly estimated the relative value and importance of his material : " these two papers, I think, will be welcome to many in East Anglia who knew my father, and to more, the world over, who know FitzGerald's letters and translations."^ > Two SuFl'OLK Friends. By Francis Hiiides Groome. Wil- liam Blackwood and Sons. Edinburgh and London, mdcccxcv. Quarto. Pp. xii+133. [A Suffolk Parson, pp. 1-64; Edward FitzGerald: An Aftermath, pp. 65-133.] » With all due allowance for the interesting details of old Suffolk life preserved in the article on Robert Ilindes Groome it docs not FORE WORD The nature and extent of this delightful causerie was also set forth in an early paragraph : ' ' from my own recollections of FitzGerald himself, but still more of my father's frequent talk of him, from some notes and fragments that have escaped hebdomadal burnings, from a visit I paid to Woodbridge in the summer of 1889, ^^*^ from reminiscences and unpublished letters furnished by friends of FitzGerald, I purpose to weave a patch- work article which shall in some ways supplement Mr. Aldis Wright's edition of his Letters." Henceforth it is unlikely that anything more will be added to our knowledge of the master of Little Grange. 3 His life, absolutely devoid of romantic as a whole demand reprinting. In " The Only Darter" and " Master Charley" there is "the true pathos and sublime" which set them apart, and place their author beside such acknowledged masters as Richard Jefferies and Dr. Jessopp. 3 " His love of music was one of his earliest passions, and remained with him to the last. I cannot refrain from quoting some recollec- tions of the late Archdeacon Groome, a friend of his College days, and so near a neighbour in later life that few letters passed between them. ' He was a true musician ; not that he was a great performer on any instrument, but that he so truly appreciated all that was good and beautiful in music. He was a good performer on the piano, and could get such full harmonies out of the organ that stood in one corner of his entrance room at Little Grange as did good to the listener. Sometimes it would be a bit from one of Mozart's Masses, FORE WORD happenings, can serve no valid attempt at " making copy" which will throw new light on such harmless far-niente existence. Call him if you must, "an eccentric man of genius who took more pains to or from one of the finales of some one of his or Beethoven's Operas. And then at times he would fill up the harmonies with his voice, true and resonant almost to the last. I have heard him say, " Did you never observe how an Italian organ-grinder will sometimes put in a few notes of his own in such perfect keeping with the air which he was grinding.'" He was not a great, but he was a good com- poser. Some of his songs have been printed, and many still remain in manuscript. Then what pleasant talk I have had with him about the singers of our early years ; never forgetting to speak of Mrs. Frere of Downing, as the most perfect private singer we had ever heard. And so indeed she was. Who that had ever heard her sing Handel's songs can ever forget the purity of her phrasing and the pathos of her voice ? She had no particle of vanity in her, and yet she would say, " Of course, I can sing Handel. I was a pupil of John Sail, and he was a pupil of Handel." To her old age she still retained the charm of musical expression, though her voice was but a thread. And so we spoke of her; two old men with all the enthu- siastic admiration of fifty years ago. Pleasant was it also to hear him speak of the public singers of those early days. Braham, so great, spite of his vulgarity ; Miss Stephens, so sweet to listen to, though she had no voice of power; and poor Vaughan, who had so feeble a voice, and yet was always called " such a chaste singer." How he would roar with laughter, when I would imitate Vaughan singing " His hkldeus {sic) love provokes my rage, Weak as I am, I must engage," from Acis and Galatea. Then too his reminiscences of the said Acis and Galatea as given at the Concerts for Ancient Music. "I FORE WORD avoid fame than others do to seek it"; add that he had a very genuine horror of self-laudation ; then fancy what a systematic biography would mean to him ! Whatever might be urged in Thack- eray's case, we shall do well to rest content with can see them now, the dear old creeters with the gold eye-glasses and their turbans, noddling their heads as they sang O tlie pleasures of the plains ! " ' These old creeters being, as he said, the sopranos who had sung first as girls, when George the Third was king. ' He was a great lover of our old English composers, specially of Shield. Handel, he said, has a scroll in his marble hand in the Abbey on which are written the first bars of " I know that my Redeemer liveth ; " and Shield should hold a like scroll, only on it should be written the first bars of "A flaxen-headed ploughboy." ' He was fond of telling a story of Handel, which I, at least, have never seen in print. When Handel was blind he composed his "Samson," in which there is that most touching of all songs, spe- cially to any one whose powers of sight are waning — "Total Eclipse." Mr. Beard was the great tenor singer of the day, who was to sing this song. Handel sent for him. "Mr. Beard," he said, " I cannot sing it as it should be sung, but I can tell you how it ought to be sung." And then he sang it, with what strange pathos need not be told. Beard stood listening, and when it was finished said, with tears in his eyes, " But Mr. Handel, I can never sing it like that." And so he would tell the story with tears in his voice, such as those best remember, who ever heard him read some piece of his dear old Crabbe, and break down in the reading.' " — See W. Aldis Wright's Preface to ' Letters,' Vol. i: x-xii, (1889). FORE WORD FitzGerald's letters supplemented, currentc calatiio, by Groome's friendly half-length "Kit-Kat."'' On the other hand "The Tarno Rye" himself possessed what seems so strangely absent in his world-renowned subject ; here a very remarkable human document may yet be given us, revealing, as may be inferred from Mr. Watts-Dunton's appreciation a rare personality known only to the elect few. A few words concerning our illustrations, col- lected at the writer's request by Mr. John Loders may not be considered out of place, forming as they do an interesting series and the one thing requisite to render An Aftermath of permanent acceptability to all lovers of FitzGerald " the world over." The 4 " The life of FitzGerald is written in his letters, and no memoir of such a man, whether 'dapper' in his own delightful style, or the perfunctory effusion of the official biographer, can be other than unwelcome to those who really understand his character. Since this was written, Mr. Glyde's ' Memoir of FitzGerald' has made its appearance. Though drawn up with the best intentions, it has not induced me to alter the opinion which I have expressed." — See Col. Prideaux's 'Notes for a Bibliography of Edward FitzGerald' (London, 1901) p. 72. 5 To whom FitzGerald pleasantly refers in a letter to W. Aldis Wright under date of May, i