Reviews Part 22

(4) Margery Merton's Girlhood. By Alice Corkran. (Blackie and Son.)

(5) Women and Work. By Emily Pfeiffer. (Trubner and Co.)

(6) Treasures of Art and Song. Edited by Robert Ellice Mack. (Griffith and Farren.)

(7) Rhymes and Roses. Illustrated by Ernest Wilson and St. Clair Simons.

Cape Town Dicky. Illustrated by Alice Havers. The Deserted Pillage.

Illustrated by Charles Gregory and John Hines. (Hildesheimer and Faulkner.)

THE POETS' CORNER--IV

(Pall Mall Gazette, January 20, 1888.)

A cynical critic once remarked that no great poet is intelligible and no little poet worth understanding, but that otherwise poetry is an admirable thing. This, however, seems to us a somewhat harsh view of the subject. Little poets are an extremely interesting study. The best of them have often some new beauty to show us, and though the worst of them may bore yet they rarely brutalise. Poor Folks' Lives, for instance, by the Rev. Frederick Langbridge, is a volume that could do no possible harm to any one. These poems display a healthy, rollicking, G. R. Sims tone of feeling, an almost unbounded regard for the converted drunkard, and a strong sympathy with the sufferings of the poor. As for their theology, it is of that honest, downright and popular kind, which in these rationalistic days is probably quite as useful as any other form of theological thought. Here is the opening of a poem called A Street Sermon, which is an interesting example of what muscular Christianity can do in the sphere of verse-making:

What, God fight shy of the city?

He's t' other side up I guess; If you ever want to find Him, Whitechapel's the right address.

Those who prefer pseudo-poetical prose to really prosaic poetry will wish that Mr. Dalziel had converted most of his Pictures in the Fire into leaders for the Daily Telegraph, as, from the literary point of view, they have all the qualities dear to the Asiatic school. What a splendid leader the young lions of Fleet Street would have made out of The Prestige of England, for instance, a poem suggested by the opening of the Zulu war in 1879.

Now away sail our ships far away o'er the sea, Far away with our gallant and brave; The loud war-cry is sounding like wild revelrie, And our heroes dash on to their grave; For the fierce Zulu tribes have arisen in their might, And in thousands swept down on our few; But these braves only yielded when crushed in the fight, Man to man to their colours were true.

The conception of the war-cry sounding 'like wild revelrie' is quite in the true Asiatic spirit, and indeed the whole poem is full of the daring English of a special correspondent. Personally, we prefer Mr. Dalziel when he is not quite so military. The Fairies, for instance, is a very pretty poem, and reminds us of some of Dicky Doyle's charming drawings, and Nat Bentley is a capital ballad in its way. The Irish poems, however, are rather vulgar and should be expunged. The Celtic element in literature is extremely valuable, but there is absolutely no excuse for shrieking 'Shillelagh!' and 'O Gorrah!'

Women must Weep, by Professor Harald Williams, has the most dreadful cover of any book that we have come across for some time past. It is possibly intended to symbolise the sorrow of the world, but it merely suggests the decorative tendencies of an undertaker and is as depressing as it is detestable. However, as the cowl does not make the monk, so the binding, in the case of the Savile Club school, does not make the poet, and we open the volume without prejudice. The first poem that we come to is a vigorous attack on those wicked and misguided people who believe that Beauty is its own reason for existing, and that Art should have no other aim but her own perfection. Here are some of the Professor's gravest accusations:

Why do they patch, in their fatal choice, When at secrets such the angels quake, But a play of the Vision and the Voice?-- Oh, it's all for Art's sake.

Why do they gather what should be left, And leave behind what they ought to take, And exult in the basest blank or theft?-- Oh, it's all for Art's sake.

It certainly must be admitted that to 'patch' or to 'exult in the basest blank' is a form of conduct quite unbefitting an artist, the very obscurity and incomprehensible character of such a crime adding something to its horror. However, while fully recognising the wickedness of 'patching' we cannot but think that Professor Harald Williams is happier in his criticism of life than he is in his art criticism. His poem Between the Banks, for instance, has a touch of sincerity and fine feeling that almost atones for its over-emphasis.

Mr. Buchan's blank verse drama Joseph and His Brethren bears no resemblance to that strange play on the same subject which Mr. Swinburne so much admires. Indeed, it may be said to possess all the fatal originality of inexperience. However, Mr. Buchan does not leave us in any doubt about his particular method of writing. 'As to the dialogue,'

he says, 'I have put the language of real life into the mouths of the speakers, except when they may be supposed to be under strong emotion; then their utterances become more rapid--broken--figurative--in short more poetical.' Well, here is the speech of Potiphar's wife under strong emotion:

ZULEEKHA (seizing him). Love me! or death!

Ha! dost thou think thou wilt not, and yet live?

By Isis, no. And thou wilt turn away, Iron, marble mockman! Ah! I hold thy life!

Love feeds on death. It swallows up all life, Hugging, or killing. I to woo, and thou-- Unhappy me! Oh!

The language here is certainly rapid and broken, and the expression 'marble mockman' is, we suppose, figurative, but the passage can scarcely be described as poetical, though it fulfils all Mr. Buchan's conditions.

Still, tedious as Zuleekha and Joseph are, the Chorus of Ancients is much worse. These 'ideal spectators' seem to spend their lives in uttering those solemn platitudes that with the aged pass for wisdom. The chief offenders are the members of what Mr. Buchan calls 'The 2nd.--Semi-chorus,' who have absolutely no hesitation in interrupting the progress of the play with observations of this kind:

2ND.--semi-chorus

Ah! but favour extreme shown to one Among equals who yet stand apart, Awakeneth, say ye, if naturally, The demons--jealousy, envy, hate,-- In the breast of those passed by.

It is a curious thing that when minor poets write choruses to a play they should always consider it necessary to adopt the style and language of a bad translator. We fear that Mr. Bohn has much to answer for.

God's Garden is a well-meaning attempt to use Nature for theological and educational purposes. It belongs to that antiquated school of thought that, in spite of the discoveries of modern science, invites the sluggard to look at the ant, and the idle to imitate the bee. It is full of false analogies and dull eighteenth-century didactics. It tells us that the flowering cactus should remind us that a dwarf may possess mental and moral qualities, that the mountain ash should teach us the precious fruits of affliction, and that a fond father should learn from the example of the chestnut that the most beautiful children often turn out badly! We must admit that we have no sympathy with this point of view, and we strongly protest against the idea that

The flaming poppy, with its black core, tells Of anger's flushing face, and heart of sin.

The worst use that man can make of Nature is to turn her into a mirror for his own vices, nor are Nature's secrets ever disclosed to those who approach her in this spirit. However, the author of this irritating little volume is not always botanising and moralising in this reckless and improper fashion. He has better moments, and those who sympathise with the Duke of Westminster's efforts to provide open spaces for the people, will no doubt join in the aspiration--

God bless wise Grosvenors whose hearts incline, Workmen to fete, and grateful souls refine;

though they may regret that so noble a sentiment is expressed in so inadequate a form.

It is difficult to understand why Mr. Cyrus Thornton should have called his volume Voices of the Street. However, poets have a perfect right to christen their own children, and if the wine is good no one should quarrel with the bush. Mr. Thornton's verse is often graceful and melodious, and some of his lines, such as--

And the wise old Roman bondsman saw no terror in the dead-- Children when the play was over, going softly home to bed,

have a pleasant Tennysonian ring. The Ballad of the Old Year is rather depressing. 'Bury the Old Year Solemnly' has been said far too often, and the sentiment is suitable only for Christmas crackers. The best thing in the book is The Poet's Vision of Death, which is quite above the average.

Mrs. Dobell informs us that she has already published sixteen volumes of poetry and that she intends to publish two more. The volume that now lies before us is entitled In the Watches of the Night, most of the poems that it contains having been composed 'in the neighbourhood of the sea, between the hours of ten and two o'clock.' Judging from the following extract we cannot say that we consider this a very favourable time for inspiration, at any rate in the case of Mrs. Dobell:

Were Anthony Trollope and George Eliot Alive--which unfortunately they are not-- As regards the subject of 'quack-snubbing,' you know, To support me I am sure they hadn't been slow-- For they, too, hated the wretched parasite That fattens on the freshest, the most bright Of the blossoms springing from the--Public Press!-- And that oft are flowers that even our quacks should bless!

(1) Poor Folks' Lives. By the Rev. Frederick Langbridge. (Simpkin, Marshall and Co.)

(2) Pictures in the Fire. By George Dalziel. (Privately Printed.)

(3) Women Must Weep. By Professor F. Harald Williams. (Swan Sonnenschein and Co.)

(4) Joseph and His Brethren: a Trilogy. By Alexander Buchan. (Digby and Long.)

(5) God's Garden. By Heartsease. (James Nisbet and Co.)

(6) Voices of the Street. By Cyrus Thornton. (Elliot Stock.)

(7) In the Watches of the Night. By Mrs. Horace Dobell. (Remington and Co.)

LITERARY AND OTHER NOTES--IV

(Woman's World, February 1888.)

Canute The Great, by Michael Field, is in many respects a really remarkable work of art. Its tragic element is to be found in life, not in death; in the hero's psychological development, not in his moral declension or in any physical calamity; and the author has borrowed from modern science the idea that in the evolutionary struggle for existence the true tragedy may be that of the survivor. Canute, the rough generous Viking, finds himself alienated from his gods, his forefathers, his very dreams. With centuries of Pagan blood in his veins, he sets himself to the task of becoming a great Christian governor and lawgiver to men; and yet he is fully conscious that, while he has abandoned the noble impulses of his race, he still retains that which in his nature is most fierce or fearful. It is not by faith that he reaches the new creed, nor through gentleness that he seeks after the new culture. The beautiful Christian woman whom he has made queen of his life and lands teaches him no mercy, and knows nothing of forgiveness. It is sin and not suffering that purifies him--mere sin itself. 'Be not afraid,' he says in the last great scene of the play:

'Be not afraid; I have learnt this, sin is a mighty bond 'Twixt God and man. Love that has ne'er forgiven Is virgin and untender; spousal passion Becomes acquainted with life's vilest things, Transmutes them, and exalts. Oh, wonderful, This touch of pardon,--all the shame cast out; The heart a-ripple with the gaiety, The leaping consciousness that Heaven knows all, And yet esteems us royal. Think of it-- The joy, the hope!'

Chapter end