r^^€^:^ltti^3^fcBilil^ [jaliforn ggional THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A NEW PILGRIMAGE. A NEW PILGRIMAGE, AND OTHER POEMS, BY WILFRID SCAWEN BLUNT, AUTHOR OF "the LOVE SONNETS OF PROTEUS," "tHE WIND AND THE WHIRLWIND," " IN VINCULIS," ETC., ETC. y A p. Bi" p. , iT>y, A LONDON KEGAN PAUL, TRENCH d- CO. MDCCCLXX>:iX. Tit PREFACE. The poems contained in the present volume belong in part to the Author's lite- rary period of " Proteus ", in part to more recent times ; nor will the reader find diffi- culty in distinguishing between them. All that needs explaining is that the series of Sonnets giving their name to the book were written in the winter of 1886- 1887 ; and the Pastorals, which end it, in the past and present years. So much for the psychology of the volume. With regard to its manner the author would speak more at length. " Sed nos qui vivimus" and the pieces " from the Arabic " represent an attempt vi PREFACE. made in all diffidence to deal with the diffi- cult problem of assonance, a form of ending which has never been seriously tried in English metres, but which in the author's opinion deserves better attention. Complete success in assonance would doubtless be to produce the illusion of rhyme, or at least to leave the car satisfied with a half result, as it is (but how rarely !) with the no result of blank verse. For this we in England need education, and the author is not sanguine as to the judgment which will be passed upon his skill. As a suggestion, however, he believes his attempt will be one day considered valuable, and he commends it now to the notice of critics. Another and more important point which he raises and endeavours to meet, is with regard to the construction of the English sonnet. Our critics seem to have decided PREFACE. vii that no form of sonnet is admissible in English other than the Petrarchan, or, at least, that some precedent must be shown in early Italian literature for each variation from it. Against this assumption of finaHty on a foreign model the author ventures to protest on the double ground that the genius and scope of English rhyme is essentially different from that of the Italian, — and that for the treatment of modern subjects (the only ones, perhaps, of permanent value in any literature) the Italian form lacks elasticity, and so is not the practically best. In the matter of rhyme, its greater redundancy and license in the Italian places the English imitator at a clear disadvantage. The Italian double endings, so effective in adding strength, are more difficult with us, and, being so, can only be used sparingly without offence to our ears. Deprived of them the ordinaiy model viii PREFACE. of the Italian sextett becomes poor and monotonous, for it needs a very strong single rhyme to be recognized at its full value after the usual Petrarchan interval. Of course, the author does not assert that these difficul- ties have not been successfully met by our best English poets. Milton, Wordsworth, Mrs. Browning, Rossetti, are proofs to the con- trary. Yet, when you have mentioned these names, there are probably not a hundred English sonnets in strict Petrarchan measure which are not intolerably dull. This surely should not be. How much stronger too becomes our case when modern subjects are approached. Tennyson, the greatest of our living poets, and the most modem in his treatment, gives us hardly a specimen on contemporary subjects of his skill. Brown- ing, William Morris, Longfellow, Lowell are almost equally silent ; Lord Lytton and PREFACE. IX Alfred Austin give us a few good ones, and Matthew Arnold has left us a bare half-dozen. Yet why ? The sonnet, with the Italian writers of the thirteenth and four- teenth centuries, was the vehicle of their daily thoughts about their daily affairs, as well as that of their profoundest utterances in re- ligion, love and politics ; nor is there any reason beyond the trammels of convention why it should not be so yet with us. It seems to the author that our critics, like the Scribes and Pharisees of the New Testa- ment, are placing on our shoulders a burden heavier than we English poets can bear. By insisting on the mint and cummin of certain rhymes and endings, they have set at nought the intellectual law on which the sonnet rests, and made it of no practical avail. For this reason the author makes bold in X PREFACE. the present volume to present the reader with two forms in which he conceives the modern English sonnet mny be written, violating no law of the Italians essential to modern poetry, and yet with sufficient elbow room to make it a vehicle suited to every subject and every mood of feeling. The first is a metre of fourteen lines — that of the " New Pilgrimage," — the second a metre of sixteen, for lighter themes, illustrated in the " Idler's Calendar." It will be observed that both these ex- amples follow the same metrical idea. The usual Petrarchan form of the octave, ABBAABBA, is rejected in favour of the alternative Italian form ABABBABA, which to the author's ear is lighter and more varied, the reversing of the rhyme in the second half of the octave giving it a special bril- PREFACE. xi liancy which the other lacks. The author, though he sometimes violates the rule in practice, considers a caesura at the end of the eighth line, or occasionally deferred to the middle of the ninth, essential to a good sonnet ; and he would include such a ceesura as one of the most important features of his metre. It will also be observed that he allows the exception of a third rhyme in the sixth and eighth lines. He is far from saying that the octave is not more perfect without it, but he has found by experience that many a good sonnet cannot be written except with this indulgence. Next to the last, the first line of every sonnet is of the most importance, and yet there are admirable first lines which by no ingenuity can be provided with three others in rhyme. The sense, therefore, has to be sacrificed, or the line is lost. xii PREFACE. With regard to the sextett in the shorter formula, and the second octave in the longer, the author is very distinctly of opinion that a couplet is in English the strongest and most effective form of ending. He believes the weakness of ninety-nine of our sonnets out of a hundred (and that is about the propor- tion of those annually published) comes from the poverty of the Petrarchan sextett in English, the formula A B C A B C, unaided by double rhymes. Certainly, in lighter sub- jects the couplet is of the greatest possible use, pointing, and sometimes even suggesting, the epigram which is the sonnet's moral. The author, therefore, adheres to the couplet as the English sonnet writer's most precious inheritance from the greatest of all our sonneteers and poets. Where Shakespeare rejected the Italian sextett in its favour, we modems surely may stand excused. PREFACE. xiii After all, the sonnet's " intellectual measure " is the truly important matter. On this the author holds briefly that the sonnet, to be a good one, should contain one conspicuous thought, and only one ; that the first line should foreshadow this, as a musical overture does an opera ; that the octave should supply variations on the suggested theme, images, metaphors, developments ; that the third quartett should fill in and complete the out- line, and finally, that the couplet should point the moral. He gives the following as a metrical description of his idea of a perfect English sonnet : — A PERFECT SONNET. Oh, for a perfect sonnet of all time ! Wild music, heralding immortal hopes. Strikes the bold prelude. To it from each clime, Like tropic birds on some green island slopes, Thoughts answering come, high metaphors, brave tropes. xiv PREFACE. In ordered measure and majestic rhyme. And, presently, all hearts, of kings and popes, And peoples, throb to this new theme sublime. Anon 'tis reason speaks. A note of death Strengthens the symphony yet fraught with pain. And men seek meanings with abated breath, Vexing their souls, — till lo, once more, the strain Breaks through triumphant, and Love's master voice Thrills the last phrase and bids all joy rejoice. Crabbet P.'^kk, Sussex. August 17, 1889. W. S. B. CONTENTS. PAGE A New Pilgrimage i The Idler's Calendar 43 The Old Squire 53 Sancho Sanchez 63 Across the Pampas 7^ From the Akauic : — I. The Camel-Rider 87 II. The Desolate City 95 III. The Grief of Love toi IV. A Love Secret 104 Pastoral Poems :— Worth Forest i" Sed Nos Qui Vivimus •'J44 A NEW PILGRIMAGE. A NEW PILGRIMAGE. I. Care killed a cat, and I have cares at home, Which vex me nightly and disturb my bed. The things I love have all grown wearisome ; The things that loved me are estranged or dead. I have a house most fair, but tenanted With shadows only, gardens of tall trees, Fenced in and made secure from every dread But this one terror, my soul's lack of ease. I have much wealth of pleasure, horse and hound Woods broad for sport, and fields that are my own, With neighbours of good cheer to greet me round , And servants tried by whom my will is done. Here all things live at peace in this dear place, All but my pride, which goes companionless. A NEW PILGRIMAGE. II. How shall I ransom me? The world without, Where once I lived in vain expense and noise, Say, shall it welcome me in tliis last rout. Back to its bosom of forgotten joys? Sometimes I hear it whispering with strange voice. Asking, " Are we forever then cast out, The things that helped thee once in thy annoys. That thou despairest ? Nay, away with doubt ! Take courage to thy heart to heal its woes. It still shall beat as wildly as a boy's." This tempts me in the night-time, and I loose My soul to dalliance with youth's broken toys. Ay, wherefore suffer ? In this question lies More than my soul can answer, and be wise. A NEW PILGRIMAGE. III. I will break through my bondage. Let me be Homeless once more, a wanderer on the earth, Marked with my soul's sole care for company, Like Cain, lest I do murder on my hearth. I ask not others' goods — nor wealth nor worth, Nor the world's kindness, which should comfort me, But to forget the story of my birth, And go forth naked of all name, but free. Where the flowers blow, there let me sit and dream. Where the rain falls, ah ! leave my tears their way. Where men laugh loud, I too will join the hymn, And in God's congregation let me pray. Only alone — I ask this thing — alone, \Vhere none may know me, or have ever known. A NEIV PILGRIMAGE. IV. Behold the deed is done. Here endeth all That bound my grief to its ancestral ways. I have passed out, as from a funeral, From my dead home, and in the great world's gaze Henceforth I stand, a pilgrim of new days, On the high road of life. Where I was thrall, See, I am master, being passionless ; And, having nothing now, am lord of all. How glorious is the world ! Its infinite grace Surprises me — and not as erst with fear, — But as one meets a woman face to face. Loved once and unforgotten and still dear In certain moods and seasons, — so to me The fair world smiles to-day, j'et leaves me free. A NEW PILGRIMAGE. V. The physical world itself is a fair thing For who has eyes to see or ears to hear. To-day I fled on my new freedom's wing, With the first swallows of the parting year. Southwards from England. At the Folkestone pier I left the burden of my sins behind, Noting how gay the noon was, and how clear The tide's fresh laughter rising to no wind. A hundred souls of men there with my own Smiled in that sunshine. 'Tis a little measure Makes glad the heart at sea, and not alone Do wise men kindle to its pulse of pleasure. Here all alike, peers, pedlars, squires, and dames Foreswore their griefs fog-born of Father Thames. A NEW PILGRIMAGE. VI. Away from sorrow ! Ves, indeed, away ! Who said that care behind the horseman sits ? The train to Paris, as it flies to-day, Whirls its bold rider clear of ague fits. ^^'^lo stops for sorrows — who for his lost wits — His vanished gold — his loves of yesterday — His vexed ambitions ? See, the landscape flits Bright in his face, and fleeter far than they. Away ! away ! Our mother Earth is wide — And our poor lives and loves of what avail ? All life is here — and here we sit astride On her broad teck, with Hope's white wings for sail, In search of fortune and that glorious goal, Paris, the golden city of our soul. A NEW PILGRIMAGE. VII. Ah, Paris, Paris ! ^\^^at an echo rings Still in those syllables of vain delight ! What voice of what dead pleasures on what wings Of Mojnad laughters pulsing through the night ! How bravely her streets smile on me — how bright Her shops, her houses, fair sepulchral things, Stored with the sins of men forgotten quite, The loves of mountebanks, the lusts of kings ! ^^^lat message has she to me on this day Of my new life? Shall I, a pilgrim wan, Sit at her board and revel at her play, As in the days of old ? Nay, this is done. It cannot be ; and yet I love her well With her broad roads and pleasant paths to hell. 10 A NEIV PILGRIMAGE. VIII. I will sit down awhile in dalliance With my dead life, and dream that it is young. My earliest memories have their home in France, The chestnut woods of Beam and streams among, Where first I learned to stammer the French tongue. Fair ancient France. No railroad insolence Had mixed her peoples then, and still men clung Each to his ways, and viewed the world askance. We, too, as exiles from our northern shore, Surveyed things sparsely ; and my own child's scorn Remained, how long, a rebel to all lore Save its lost English, nor was quite o'erborne Till, as I swore I'd speak no French frog's word, I swore in French, and so laid down my sword. A NEW PILGRIMAGE. ii IX. These were in truth brave days. From our high perch, The box-seat of our travelHng chariot, then We children spied the world 'twas ours to search, And mocked like birds at manners and at men. What wonders we beheld, Havre, Rouen, Caen, The Norman caps, the Breton crowds in church. The loyal Loire, the valorous Vendeen, And all the Revolution left in lurch That very year — things old as Waterloo. — But when we neared the mountains crowned with snows, And heard the torrents roar, our wonder grew Over our wit, and a new pleasure rose Wild in our hearts, and stopped our tongues with dread, The sense of death and beauty overhead. 12 A NEW PILGRIMAGE. X. Whence is our pleasure in things beautiful ? We are not born with it, we do not know, By instinct of the eye or natural rule, That naked rocks are fairest, or flowers blow Best in their clefts, or that the world of snow Has other glory than of cold and ice. From our mother's hand we viewed these things below. Senseless as goats which browse a precipice. Till we were taught to know them. With what tears I con the lessons now I learned so well, Of mountain shapes, from those dead lips of hers ; And as she spoke, behold, a miracle Proving her words, — for at our feet there grew, Beauty's last prodigy, a gentian blue. J NEW PILGRIMAGE. 13 XI. I have it still, a book with pages sewn Cross-wise in silk, and brimming with these flowers, Treasures we gathered there, long sere and brown. The ghosts of childhood's first undoubting hours. Of childhood in the mountains e'er the powers Of wrong and pain had turned our joys to gall. That summer stands to me a tower of towers, To which my gladness clings in spite of all. There was one special wonder in the hills, A place where nets were hung from tree to tree For flights of pigeons. This beyond all else Touched my boy's fancy for its mystery, And for the men who, caged aloft on poles, Scared down the birds, as Satan scares men's souls. 14 A NEW PILGRIMAGE. XII. Dear royal France ! I fix the happy year At forty-six, because that Christmas-tide There passed through Pau the Duke of Mont- pensier, Fresh from his nuptials with his Spanish bride ; And because I, unwilling, shared their pride, As youngest of the English children there. By offering flowers to the fair glorified Daughter of Bourbon standing on the stair — A point in history. When we came at last To this gay Paris I was doomed to love, There were already rumours of the blast That swept the Orleans songsters from their grove In flight to London, after Polignac And the true king, at their King Bourgeois' back. A NEW PILGRIMAGE. IS XIII. And what strange sights have these three windows seen, Mid bonnes and children, in the Tuileries ! What flights of hero. Emperor and Queen, Since first I looked down from them, one of these ! Here, with his Mornys and his Persignys, Louis Napoleon, the Prince President, Rode one December past us, on the breeze Of his new glory, bloodstained and intent. Later, I too my love's diplomacies Playe